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CATALOGUE  OF  AN  EXHIBITION 
ILLUSTRATIVE  OF  THE  TEXT  OF 


■    ^t)afeespeare's  ^laps 


AS  PUBLISHED  IN  EDITED  EDITIONS 
TOGETHER  WITH  A  LARGE  COL- 
LECTION OF  ENGRAVED 
PORTRAITS  OF 
THt  POET 


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NEW   YORK 

^l)e  SxoUtx  Club 

APRIL  6-29 
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CATALOGUE  OF  AN  EXHIBITION 
ILLUSTRATIVE  OF  THE  TEXT  OF 

SHAKESPEARE'S   PLAYS 

AS  PUBLISHED  IN  EDITED  EDITIONS ;  TOGETHER 

WITH  A  LARGE  COLLECTION  OF 

ENGRAVED  PORTRAITS 

OF  THE  POET 


NEW  YORK 

THE  GROLIER  CLUB 

APRIL  6-29 

1916 


FOREWORD 

The  Grolier  Club  joins  the  many  literary 
associations,  libraries  and  the  English-speaking 
world  generally  in  honoring  the  memory  of 
William  Shakespeare  on  the  occasion  of  the 
Tercentenary  of  his  death,  and  presents  to  its 
members  and  their  friends  an  exhibition  illus- 
trative of  the  development  of  the  text  of  the 
plays  of  the  great  master,  from  the  First  Folio 
of  1623  to  the  monumental  Variorum  Edition 
of  Dr.  Furness,  w^hose  first  volume  appeared 
in  1871. 

The  First  Folio  of  1623  was  printed  partly 
from  the  earlier  Quartos  and  partly  from  the 
manuscript  copies  in  the  hands  of  the  players, 
and  consequently  did  not  have  the  careful  edit- 
ing that  the  First  Folio  of  Ben  Jonson's 
"Workes"  (1616)  enjoyed  at  the  hands  of  the 
author.  Hence,  there  were  many  errors,  in  part 
due  to  careless  printing,  as  well  as  to  inaccuracy 
in  transcribing  the  playhouse  copies.  The  edi- 
tors, from  Rowe  in  1709  to  the  present  day, 
have  been   busily  engaged   in   corrections   and 


FOREWORD 

emendations,  and  many  a  fine  controversy  has 
been  the  result.  The  first  editions  of  the  work 
of  the  learned  editors  appear  in  this  exhibition, 
and  form  an  interesting  view  of  the  great  in- 
dustry and  scholarship  devoted  to  the  elucida- 
tion of  Shakespeare's  text. 

The  Stratford  Bust  and  the  Droeshout  Print, 
issued  on  the  title-page  of  the  First  Folio,  1623, 
must  ever  remain  the  only  portraits  of  Shake- 
speare which  have  practically  the  endorsement 
of  his  contemporaries.  Many  others  have  been 
brought  forward  and  have  had  their  advocates. 
Engravings  of  many  types  and  varieties  are  here 
exhibited,  and  it  is  believed  that  never  before 
have  so  many  engraved  portraits  of  Shakespeare 
(over  four  hundred)  been  brought  together. 

As  is  usual,  the  members  of  the  Club  have 
furnished  most  of  the  articles  here  exhibited, 
with  the  exception  of  several  volumes  of  impor- 
tance kindly  contributed  by  the  Library  of  Co- 
lumbia University,  acknowledgment  of  which  is 
gratefully  made. 


IV 


CONTENTS 

PAGE 

The  Four  Folios,  i  623-1 685     ...  3 

Nicholas  Rowe's  Edition,  1709      .     .  8 

Alexander  Pope's  Edition,  i  723-1 725  .  9 

Lewis  Theobald's  Edition,  1733     .      .  12 

Sir  Thomas  Hanmer's  Edition,  1744  .  13 

William  Warburton's  Edition,  1747  .  15 

Samuel  Johnson's  Edition,  1765    .     .  16 

Edward  Capell's  Edition,  1 767-1 768   .  17 

George  Steevens's  Edition,  1773    .     .  19 

Joseph  Rann's  Edition,  i  786-1 794      .  21 

Edmund  Malone's  Edition,  1790  .      .  22 

Some  Nineteenth  Century  Editions  .  23 

The  Stratford  Bust 34 

The  Stratford  Portrait      ....  43 

The  Droeshout  Engraving      ...  44 

The  Flower  Portrait 51 

The  Ely  Palace  Portrait   ....  52 

The  Felton  Portrait     .....  53 


CONTENTS 

PAGE 

The  Chandos  Portrait 59 

The  Janssen  Portrait 86 

The  Zuccaro  Portrait 93 

The  Soest  Portrait 94 

The  Ashbourne  Portrait   ....  95 

Miniatures 96 

Various  Sup^osITITIOus  Portraits 

AND  Busts 99 

Fraudulent  Portraits 102 

The  Westminster  Monument      .     .  105 

The  Banks  Relief 108 

Various  Statues iii 

Addenda 114 


PART  I 

EDITED  EDITIONS 
1623-1871 


THE  FOUR  FOLIOS,  1623-1685 

In  1623,  seven  years  after  the  death  of  William 
Shakespeare,  the  first  attempt  was  made,  by  a 
number  of  printers  and  stationers  with  the  co- 
operation of  his  fellow  actors,  to  give  to  the 
world  a  complete  edition  of  his  Plays.  The  re- 
sult was  the  First  Folio  Edition,  containing  all 
of  the  thirty-seven  plays  which  are  now  consid- 
ered to  be  wholly  or  in  part  by  Shakespeare, 
with  the  exception  of  Pericles,  which  was  added 
to  the  third  edition  in  1664.  The  plays  which 
are  generally  considered  to  be  not  entirely  by 
Shakespeare  are  Pericles,  Titus  Andronicus,  the 
three  parts  of  Henry  VI,  and  Henry  VHI. 
Whether  portions  of  The  Taming  of  the  Shrew 
and  Tim  on  of  Athens  may  be  by  other  hands  is 
a  debated  question. 

Sixteen  of  the  thirty-six  plays  in  the  volume 
had  already  been  published  separately  in  quarto 
form.  For  eight  of  these,  however,  the  editors 
of  the  folio  introduced  different  texts.  The 
following  twenty  were  here  printed  for  the  first 
time  from  manuscripts,  which  unfortunately  have 
not  come  down  to  us :  The  Tempest,  Two  Gen- 
tlemen of  Verona,  Measure  for  Measure,  Com- 
edy of  Errors,  As  You  Like  It,  All's  Well  that 
Ends  Well,  Twelfth  Night,  The  Winters  Tale, 
Henry  VI  (Pt.  I,  and  new  versions  of  Pts.  II 


WILLIAM   SHAKESPEARE 

and  III),  Henry  VIII,  Coriolanus,  Timon  of 
Athens,  Julius  Casar,  Macbeth,  Anthony  and 
Cleopatra,  Cymbeline,  King  John,  and  Taming 
of  the  Shrew. 

Though  only  the  names  of  Isaac  Jaggard 
(printer)  and  Ed.  Blount  (stationer),  are  men- 
tioned in  the  imprint,  we  learn  from  the  colo- 
phon that  the  risk  of  publication  was  shared 
with  them  by  W.  Jaggard,  I.  Smithweeke 
(Smethwicke),  and  W.  Aspley.  John  Heminge 
and  Henry  Condell  who  signed  the  dedication 
and  address  to  the  reader  were  two  actor-man- 
agers mentioned  in  Shakespeare's  will,  to  whom 
much  of  the  credit  of  the  undertaking  is  due.  It 
is  thought  that  at  least  five  hundred  copies  were 
originally  printed,  and  that  they  were  sold  at  a 
pound  a  copy.  Of  nearly  two  hundred  which 
survive,  only  fourteen,  according  to  Sir  Sidney 
Lee,  are  in  perfect  condition. 

Of  all  concerned  in  the  enterprise,  Mr.  Al- 
fred W.  Pollard  has  written:  "It  is  true  that 
their  editorial  ideas  were  merely  formal  and 
ceremonial,  and  that  even  these  were  only  par- 
tially carried  out  ...  In  a  word,  they  were 
very  human  persons,  soon  weary  of  well  doing, 
and  with  not  a  conception  that  they  were  deal- 
ing with  the  greatest  of  all  English  books.  But 
they  preserved  some  twenty  of  Shakespeare's 
plays  from  total  destruction  and  printed  greatly 
improved  texts  of  several  others,  and  for  these 
inestimable  benefits,  had  each  of  the  venturers 
received  the  whole  proceeds  of  the  edition  as  his 
share  of  the  profits,  who  shall  say  that  they 


EDITED  EDITIONS 

would  have  been  overpaid?"  Shakespeare  Folios 
and  Quartos,  igOQ. 

Mr.  William  Shakespeares  Comedies,  Histories, 
&  Tragedies.  Published  according  to  the  True 
Originall  Copies.  [Portrait  by  Droeshout.] 
London.  Printed  by  Isaac  laggard,  and  Ed. 
Blount.    1623. 

Folio.  First  folio  edition.  Portrait  by  Mar- 
tin Droeshout  on  title-page  (for  description,  see 
Pt.  II,  Nos.  54-57)- 

The  arrangement  of  the  nine  preliminary  leaves 
has  caused  much  controversy.  The  copy  shown 
was  formerly  in  the  collection  of  the  Duke  of  Rox- 
burghe,  and  later  was  owned  by  the  Duke  of  Dev- 
onshire. It  is  the  one  which  was  used  for  Sir 
Sidney  Lee's  photographic  facsimile,  1902. 

Reprints  of  the  First  Folio  were  issued  in  1807 
(far  from  exact),  in  1861-1864  by  Lionel  Booth, 
in  1866  by  Howard  Staunton,  in  1876  (reduced 
facsimile)  by  J.  O.  Halliwell-Phillips,  in  1902 
(photographic  facsimile)  by  Sir  Sidney  Lee,  and 
in  1910  by  Methuen  &  Co.  Reprints  of  the  Sec- 
ond, Third  and  Fourth  Folios  were  brought  out 
by  Methuen  &  Co.  in  1904-1905. 


Nine  years  after  the  publication  of  the  First 
Folio,  the  demand  for  a  new  edition  warranted 
the  issue  of  a  "New  Impression"  by  a  syndicate 
of  five  stationers,  several  changes  having  taken 
place  among  the  owners  of  Shakespeare  copy- 
rights.   Each  of  the  five  publishers  had  a  special 

5 


WILLIAM   SHAKESPEARE 

title-page,  giving  his  own  name,  without  the 
other  four,  in  the  imprint  of  the  copies  which  he 
took  as  his  share.  The  colophon  in  all  known 
copies,  however,  mentions  the  five  names,  John 
Smethwicke,  William  Aspley,  Richard  Hawkins, 
Richard  Meighen,  and  Robert  Allot.  The  edi- 
tion was  printed  by  Thomas  Cotes.  Copies  with 
the  Allot  imprint  are  the  most  common,  and 
Meighen 's  are  the  rarest.  The  portrait  on  the 
title-page  is  printed  from  the  same  plate  as  the 
portrait  in  the  First  Folio.  An  effort  seems  to 
have  been  made  to  edit  the  text,  probably  by  the 
ordinary  corrector  of  the  press,  but  no  important 
changes  occur. 

2  M"".  William  Shakespeares  Comedies,  Histories, 
and  Tragedies.  Published  according  to  the  true 
Originall  Copies.  The  Second  Impression.  [Por- 
trait by  Martin  Droeshout]  London,  Printed 
by  Tho.  Cotes,  for  Robert  Allott,  and  are  to  be 
sold  at  his  shop  at  the  signe  of  the  Blacke  Beare 
in  Pauls  Church-yard.    1632. 

Folio.    Second  edition.  Allot  imprint.    Portrait 
by  Droeshout  on  title-page. 

2a  Another  Copy.    Aspley  imprint. 


With  the  Restoration  came  a  new  demand  for 
books  of  plays,  and  in  1663  Philip  Chetwinde 
published  a  reprint  of  the  Second  Folio,  the 
title-page  appearing  in  two  states,  with  and 
without  the  portrait.  Shortly  after  the  volume 
6 


EDITED  EDITIONS 

appeared  it  was  realized  that  seven  plays  which 
had  been  printed  in  Shakespeare's  lifetime,  with 
either  his  name  or  initials  attached,  had  never 
been  included  in  the  collected  editions;  and 
Chetwinde  forthwith  issued  the  unused  sheets 
of  his  edition,  with  a  new  title-page  (dated 
1664)  from  which  the  portrait  was  removed  to 
leave  room  for  the  list  of  new  plays,  which  were 
added  at  the  end  of  the  book.  All  except  Peri- 
cles have  since  been  rejected  by  students  of 
Shakespeare. 

The  rarity  of  this  Third  Folio  has  led  to  the 
supposition  that  a  large  number  of  copies  were 
destroyed  in  the  Great  Fire  of  London,  1666. 

M*".  William  Shakespear's  Comedies,  Histories, 
and  Tragedies.  Published  according  to  the  true 
Original  Copies.  The  Third  Impression.  And 
unto  this  Impression  is  added  seven  Playes, 
never  before  Printed  in  Folio,  viz.  Pericles 
Prince  of  Tyre.  The  London  Prodigall.  The 
History  of  Thomas  lA.  Cromwell.  Sir  John 
Oldcastle  Lord  Cobham.  The  Puritan  Widow. 
A  York-shire  Tragedy.  The  Tragedy  of  Lo- 
crine.    London,  Printed  for  P.  C.    1664. 

Folio.  Third  edition,  second  issue,  with  addi- 
tional plays.  Portrait  by  Droeshout  as  frontis- 
piece, with  Jonson's  verses  below. 


The  fourth  and  last  of  the  seventeenth  century 
folio  editions  of  Shakespeare  is  a  reprint  of  the 

7 


WILLIAM   SHAKESPEARE 

third,  with  but  few  corrections,  and  a  number  of 
new  mistakes.  The  seven  new  plays  are  included 
and  mentioned  in  the  title,  as  in  the  second  issue 
of  the  Third  Folio,  and  the  portrait  faces  the 
title. 

M*".  William  Shakespear's  Comedies,  Histories, 
and  Tragedies  .  .  .  The  Fourth  Edition.  Lon- 
don, Printed  for  R.  Herringman,  E.  Brewster, 
R.  Chiswell,  and  R.  Bentley,  at  the  Anchor  in 
the  New  Exchange;  and  at  the  Crane,  and  Rose 
and  Crown  in  St.  Pauls  Church- Yard,  and  in 
Russell-Street  Covent  Garden.  1685. 

Folio.    Fourth  edition.    Portrait  by  Droeshout, 
with  Jonson's  verses  below,  as  frontispiece. 

A  variation  of  the  imprint  omits  Chiswell's  name, 
and  a  third  form  of  imprint  contains  Herringman's 
name  alone. 

NICHOLAS  ROWE'S  EDITION,  1709 

To  Nicholas  Rowe,  poet  laureate  and  drama- 
tist, we  owe  the  first  attempt  to  edit  Shakespeare 
in  the  modern  sense.  Although  the  text  is  based 
mainly  on  the  Fourth,  and  worst.  Folio,  his 
claim  to  have  "rendered  many  places  intelligible 
that  were  not  so  before"  is  justified.  An  early 
Quarto  of  Romeo  and  Juliet,  and  a  late  Hamlet 
gave  him  some  suggestions.  He  modernized 
spelling,  punctuation  and  grammar,  added  lists 
of  dramatis  persona  and  improved  the  division 
of  the  acts  and  scenes. 

Rowe's  edition  is  the  first  to  contain  a  biog- 
raphy of  the  poet,  the  details  of  which  he  com- 
8 


EDITED  EDITIONS 

missioned  Betterton,  the  actor,  to  collect  for  him 
in  and  around  Stratford ;  the  first  with  illustra- 
tions to  the  plays ;  and  the  first  to  bear  the  name 
of  its  editor.  The  plays  were  printed  in  the 
same  order  as  in  the  Fourth  Folio,  with  Pericles 
and  the  six  spurious  pieces  brought  together  at 
the  end. 

Rowe  was  a  man  of  great  cultivation  and 
linguistic  attainments,  as  well  as  "a.  comely  per- 
sonage and  a  very  pretty  sort  of  man."  His  por- 
trait was  twice  painted  by  Kneller.  For  his 
Shakespearian  labors,  Nichols  says  that  he  re- 
ceived thirty-six  pounds,  ten  shillings. 

5  Works  .  .  .  Adorn'd  with  cuts,  Revis'd  and  cor- 
rected, with  an  Account  of  the  Life  and  Writ- 
ings of  the  Author.  By  N.  Rowe,  Esq ;  London : 
Printed  for  Jacob  Tonson  .  .  .  1709. 

Octavo.  Six  volumes.  Portraits  (Chandos 
type  by  Van  der  Gucht  and  the  Stratford  bust; 
see  Pt.  II,  Nos.  135  and  3),  plates. 

A  few  sets  were  printed  on  large  paper. 

In  1 7 10,  a  supplementary  volume,  containing  the 
poems,  was  issued  by  Edmund  Curll.  A  new  edi- 
tion in  eight  volumes,  with  a  supplementary  ninth, 
appeared  in  1714. 

5a  Another  Copy.    Printed  on  large  paper. 

ALEXANDER  POPE'S  EDITION,  1 723-1 725 

Alexander  Pope's  edition  of  Shakespeare  is  one 
of  the  proofs  that  a  poet  is  not  necessarily  a  good 
critic  of  poetry.    The  work  was  undertaken  for 

9 


WILLIAM   SHAKESPEARE 

Jacob  Tonson,  the  publisher,  and  Pope,  while 
appreciating  the  magnitude  of  the  task,  had  lit- 
tle taste  for  the  drudgery  which  it  entailed ;  the 
preface  is  the  only  part  of  the  work  on  which  he 
spent  his  best  efforts.  While  showing  his  ac- 
quaintance with  the  First  Folio  and  many  of  the 
Quartos  (he  listed  those  of  which  he  made  use), 
his  text  is  based,  for  the  most  part,  on  Rowe, 
although  he  omits  Pericles  and  the  six  spurious 
plays.  The  life  by  Rowe  is  included,  as  well  as 
an  index  of  characters,  etc.,  and  a  list  of  sub- 
scribers; and,  for  the  first  time,  the  "place"  of 
each  scene  is  indicated. 

Pope's  innovations  in  the  text  are  numerous, 
and  his  omissions,  as  in  the  case  of  the  line, 
"Sleep  that  knits  up  the  ravell'd  sleave  of  care," 
are  often  incomprehensible.  While  in  the  main 
his  changes  were  arbitrary,  a  good  number  of  his 
conjectures  have  been  generally  accepted,  and 
many  lines  owe  their  metrical  arrangement  to 
him.  He  received  from  Tonson  for  the  task 
£217,  10  s.,  but  the  edition  was  a  financial 
failure,  many  copies  selling  for  sixteen  shillings, 
instead  of  the  original  price,  six  guineas.  Its 
defects  were  mercilessly  exposed  by  Lewis  Theo- 
bald in  his  Shakespeare  Restored,  1726,  Pope 
retaliating  by  making  Theobald  the  hero  of  The 
Dunciad  (see  Nos.  7  and  8). 

6  Works  .  .  .  Collated  and  corrected  by  the  former 
Editions,  By  Mr.  Pope.  London:  Printed  for 
Jacob  Tonson  .  .  .  [i 723-]  1725. 

Quarto.  Six  volumes.  Two  portraits  by  Vertue 
10 


EDITED  EDITIONS 

(Stratford  bust  and  Welbeck  miniature;  see  Pt. 
II,  Nos.  4  and  345). 

Seven  hundred  and  fifty  sets  were  printed.    The 
separate  title-pages  are  dated  1723. 

A  supplementary  volume,  1725,  contains  the  poems, 
edited  by  George  Sewell,  an  essay  on  the  stage  and 
a  glossary. 

A  second  edition,  so-called  in  the  title,  appeared 
in  1728  in  nine  volumes,  including  the  poems  and 
the  spurious  plays.  Sew^ell's  name  is  added  to  the 
title-page.  A  piratical  edition  had  been  brought 
out  in  Dublin,  the  first  of  Shakespeare's  works  to 
be  published  in  Ireland,  dated  1725-1726.  Pope's 
version  was  used  also  for  the  first  complete  Scot- 
tish edition,  printed  in  1766  at  Glasgow  by  the 
Foulis  brothers,  who  had  previously  issued  plays 
in  separate  volumes,  1752,  etc.  At  the  suggestion 
of  David  Garrick,  a  reissue  of  Pope's  edition  was 
printed  at  Birmingham  in  1768  from  Baskerville's 
types,  and  sold  at  the  Stratford  jubilee  of  1769. 

Shakespeare  restored:  Or,  A  Specimen  of  the 
Many  Errors,  as  well  Committed  as  Un- 
amended, by  Mr.  Pope  in  his  late  Edition  of  this 
Poet ...  by  Mr.  Theobald  .  .  .  London:  Printed 
for  R.  Francklin  .  .  .  1726. 

Quarto.    First  edition. 

The  work  is  a  critical  examination  of  Hamlet 
in  which  Theobald  exposed  the  defects  of  Pope's 
edition.  He  boasted  that  he  (Theobald)  would  be 
able  to  give  five  hundred  emendations  which  would 
escape  any  other  editor  who  might  undertake  a 
version  of  Shakespeare.  One  of  his  most  notable 
changes  is  in  the  account  of  Falstaff's  death 
II 


WILLIAM   SHAKESPEARE 

{Henry  V),  where  "a  table  of  green  fields"  is 
made  to  read  "a'  babbled  of  green  fields."  In  his 
second  edition  Pope  adopted  many  of  Theobald's 
corrections,  and  then  began  his  campaign  against 
Theobald,  which  culminated  in  The  Dunciad. 

8  [Pope,  Alexander.]  The  Dunciad.  An  Heroic 
Poem.  In  Three  Books.  Dublin,  Printed,  Lon- 
don Reprinted  for  A.  Dodd.    1728 

Octavo.  First  edition,  first  issue,  with  the  first 
line,  "Book  and  the  man  I  sing,"  and  verso  of 
H2  blank. 

Pope's  revenge  for  the  Shakespeare  Restored  of 
Theobald,  who  is  held  up  to  ridicule  as  the  dull 
and  pedantic  hero  of  the  Dunciad. 


LEWIS  THEOBALD'S  EDITION,  1733 

It  is  usually  conceded  that  the  text  of  Shake- 
speare owes  more  to  Theobald  than  to  any 
other  early  editor.  Though  unsuccessful  as  a 
writer  of  original  poetry  and  prose,  he  proved 
himself  remarkably  acute  and  ingenious  in  tex- 
tual criticism,  and  introduced  more  than  three 
hundred  corrections  and  emendations  which 
have  been  accepted  as  authoritative. 

"In  dealing  with  admitted  corruptions," 
writes  Sidney  Lee,  "Theobald  remains  unri- 
valled, and  he  has  every  right  to  the  title  of  the 
Porson  of  Shakespearian  criticism.  His  prin- 
ciples of  textual  criticism  were  as  enlightened 
as  his  practice  was  ordinarily  triumphant." 

Theobald's  editorial  profits  amounted  to  more 
12 


EDITED  EDITIONS 

than  £650,  in  startling  contrast  to  the  small 
sums  received  by  other  editors.  The  sale  of 
his  work  was  enormous. 

9  Works  .  .  .  Collated  with  the  oldest  copies  and 
corrected.  With  Notes  explanatory  and  critical 
by  Mr.  Theobald.  London:  Printed  for  A, 
Bettesworth,  and  C.  Fitch,  J.  Tonson  .  .  .  1733. 

Octavo.  Seven  volumes.  Portrait  by  Duchange 
(Chandos-Arland;  see  Pt.  II,  No.  156).  [This 
edition  is  generally,  and  probably  incorrectly, 
described  as  containing  plates.] 

Seventy-five  sets  were  printed  on  large  paper. 

10  Works  .  .  .  With  Notes  explanatory  and  critical 
by  Mr.  Theobald.  The  second  edition.  Lon- 
don: Printed  for  H.  Lintott,  C.  Hitch,  J.  &  R. 
Tonson  .  .  .  1740. 

Second  edition. 

Duodecimo.  Eight  volumes.  Portrait  by  G. 
Van  der  Gucht  (Chandos;  see  Pt.  II,  No.  162), 
and  plates  by  Van  der  Gucht  after  Gravelot. 

Theobald's  work  was  republished  with  a  new  title 
in  1857,  and  several  times  during  the  next  twenty- 
five  years. 

SIR  THOMAS  HANMER'S  EDITION, 

1744 

Shakespeare's  fourth  editor  has  been  described 
as  a  "sensible,  impracticable,  honest,  formal,  dis- 
agreeable man,  whose  great  merit  was  loving  his 
country."  He  was  Speaker  of  the  House  of 
Commons  in  17 14,  and  on  retiring  devoted  his 

13 


WILLIAM   SHAKESPEARE 

leisure  to  the  study  of  Shakespeare's  plays, 
though  he  does  not  seem  to  have  consulted  the 
early  editions,  founding  his  work  on  Pope  and 
Theobald.  While  possessing  little  literary 
knowledge,  his  native  ingenuity  led  him  to  make 
some  sensible  emendations,  which  have  been 
followed,  but  his  edition  has  almost  no  critical 
value. 

It  was,  however,  handsomely  printed  at  the 
Oxford  University  Press,  and  was  the  first 
Shakespeare,  says  Mr.  Dibdin,  "which  appeared 
in  any  splendid  typographical  form  .  .  .  The 
first  edition  was  a  popular  book  and  was  proudly 
displayed  in  morocco  binding  in  the  libraries  of 
the  great  and  fashionable." 

II  Works  .  .  .  carefully  Revised  and  Corrected  by 
the  former  Editions  and  Adorned  with  Sculp- 
tures designed  and  executed  by  the  best  Hands. 
Oxford:  Printed  at  the  Theatre,  1744. 

Quarto.  Six  volumes.  Three  portraits  by 
Gravelot  (Chandos,  Westminster  monument, 
and  Stratford  bust;  see  Pt.  II,  Nos.  165,  392, 
and  5),  and  plates  by  Gravelot  after  Hayman. 

Some  copies  are  dated  1743-44.  A  few  sets 
were  printed  on  large  paper. 

A  second  edition  (so  called  on  the  title-page)  ap- 
peared in  1770-1771.  This  also  was  issued  on 
large  paper,  copies  being  in  the  Warwick  Castle 
and  Jaggard  collections.  A  few  copies  are  en- 
tirely dated  1771. 


14 


EDITED  EDITIONS 


BISHOP  WARBURTON'S  EDITION,  1747 

William  Warburton,  afterwards  Pope's  literary 
executor,  had  sympathized  with  Theobald  in  his 
controversy  with  Pope,  but  had  later  quarreled 
with  Theobald  and  Hanmer,  accusing  them 
both  of  plagiarism  in  his  own  edition  of  Shake- 
speare. "He  eulogized  Pope,  whose  name  he 
placed  by  the  side  of  his  own  on  the  title-page," 
writes  the  Rev.  Ernest  Walder,  in  the  Cam- 
bridge History  of  English  Literature,  "only, 
however,  to  depart  from  his  text,  while  he  de- 
nounced Theobald  only  to  adopt  his  edition  as 
a  basis." 

Warburton  was  boastful  and  incompetent 
(note  "the  genuine  text  ...  is  here  settled" 
of  his  title-page),  and  many  of  his  conjectures 
as  to  the  text  are  nonsensical,  though  a  few 
have  been  adopted.  He  was  severely  and  effec- 
tually criticized  by  John  Upton,  Zachary  Grey 
and  Benjamin  Heath,  but  his  most  able  com- 
mentator was  Thomas  Edwards,  for  whose 
"Supplement  to  Warburton's  Edition,"  renamed 
"The  Canons  of  Criticism,"  see  No.  13. 

12  Works  .  .  .  The  Genuine  Text  (collated  with  all 
the  former  Editions  and  then  corrected  and 
emended)  is  here  settled;  being  restored  from 
the  Blunders  of  the  first  Editors,  and  the  Inter- 
polations of  the  two  Last :  With  a  Comment  and 
Notes,  Critical  and  Explanatory.  By  Mr.  Pope 
and  Mr.  Warburton.  London:  Printed  for  J. 
&  P.  Knapton  .  .  .  1747. 

15 


WILLIAM   SHAKESPEARE 

Octavo.     Eight  volumes.     Portrait  by  Vertue 
(Chandos;  see  Pt.  II,  No.  137). 

This  was  issued  also  in  Dublin  the  same  year. 

13  [Edwards,  Thomas.]  A  Supplement  to  Mr.  War- 
burton's  Edition  of  Shakespeare.  Being  the 
Canons  of  Criticism,  and  Glossary  collected 
from  the  Notes  in  that  celebrated  Work  and 
proper  to  be  bound  up  with  it.  By  another 
Gentleman  of  Lincoln's  Inn.  London:  M. 
Cooper,  1748. 

Octavo.    First  edition. 

Thomas  Edwards's  famous  criticism  of  Warbur- 
ton's  edition.  It  was  renamed  "Canons  of  Criti- 
cism" in  the  third  edition,  1748,  and  had  gone 
through  seven  editions  by  1765. 


SAMUEL  JOHNSON'S  EDITION,  1765 

Although  described  as  at  press  in  1757,  the  great 
lexicographer's    edition    of    Shakespeare,    with 
text  based  on  Warburton's,  did  not  appear  until 
October,  1765,  and  was  then,  perhaps,  hastened 
by  Churchill's  allusion  in  The  Ghost: 
"He  for  subscribers  baits  his  hook 
And  takes  your  cash,  but  where  's  the  book?" 
Johnson  made  no  startling  discoveries,  but  he 
restored  some  passages  from  the  quartos  which 
had  been  omitted  in  the  folios,  giving  his  text  a 
distinct  value.     His  well-known  preface  shows 
his  appreciation  of  Shakespeare's  greatness.    He 
is  said  to  have  received  £375  for  the  first,  and 
£100  for  the  second  issue. 
16 


EDITED   EDITIONS 

14  Plays  .  .  .  With  the  Corrections  and  Illustrations 

of  Various  Commentators.  To  which  are  added 
Notes  by  Sam.  Johnson.  London:  Printed  for 
J.  &  R.  Tonson  .  .  .  1765. 

Octavo.  Eight  volumes.  Portrait  by  Vertue 
(Chandos;  see  Pt.  II,  No.  137). 

Reissued  in  1768.  A  piratical  edition  had  ap- 
peared in  Dublin  in  1766. 

(See  also  under  George  Steevens.) 

15  Plays  and  Poems  .  .  .  corrected  from  the  latest 

and  best  London  Editions,  with  Notes  by  Samuel 
Johnson,  L.L.D.  To  which  are  added  a  Glos- 
sary and  the  Life  of  the  Author.  Embellished 
with  a  striking  Likeness  from  the  Collection  of 
his  Grace  the  Duke  of  Chandos.  First  Ameri- 
can Edition.  Philadelphia:  Printed  and  sold  by 
Bioren  &  Madan,  I795[-I796]. 

Duodecimo.  Eight  volumes.  Portrait  by  R. 
Field  (Chandos;  see  Pt.  II,  No.  265). 

The  first  American  edition  of  Shakespeare,  and 
the  first  collected  edition  to  be  produced  outside 
of  Great  Britain.  The  portrait  is  probably  the 
first  one  of  Shakespeare  to  be  engraved  in  America. 


EDWARD  CAPELL'S  EDITION, 
I 767-1 768 

Edward  Capell  devoted  over  twenty  years  with 
untiring  zeal  to  the  preparation  of  his  edition, 
and  is  said  to  have  transcribed  the  whole  of 
Shakespeare  ten  times.  A  scientific  critic,  he 
made  a  thorough  study  of  the  early  Quartos  and 

17 


WILLIAM   SHAKESPEARE 

First  and  Second  Folios,  producing  more  schol- 
arly results  than  any  of  his  forerunners.  He 
was  the  first  to  attach  due  importance  to  the 
first  editions  of  those  plays  which  were  issued 
separately  in  quarto  before  the  appearance  of  the 
First  Folio  in  1623.  He  also  investigated  the 
principles  of  Shakespeare's  versification,  and  his 
arrangement  of  many  of  the  lines  has  been  gen- 
erally adopted,  as  in  the  first  scene  of  Hamlet: 
"Give  you  good  night,"  etc. 

Capell's  own  conjectures,  however,  were  not 
fortunate,  and  his  clumsy  style  of  writing 
prompted  Johnson  to  say  that  he  "gabbled  mon- 
strously." 

His  "Notes,"  the  publication  of  which  was 
completed  in  1783,  two  years  after  his  death, 
are  sufficient  proof  of  his  untiring  industry,  for 
which  later  editors  owe  him  an  enormous  debt. 
He  had  collected  a  valuable  library  of  Shake- 
speariana,  including  many  Quartos,  which  he 
presented  to  Trinity  College,  Cambridge,  where 
the  manuscript  of  his  work  is  preserved. 

16  Mr.  William  Shakespeare  his  Comedies,  Histories, 
and  Tragedies,  set  out  by  himself  in  quarto  or 
by  the  Players  his  Fellows  in  folio,  and  now 
faithfully  republish'd  from  those  Editions  in  ten 
volumes  octavo ;  with  an  Introduction.  Where- 
unto  will  be  added,  in  some  other  volumes. 
Notes  critical  and  explanatory  and  a  Body  of 
Various  Readings  entire  .  .  .  London:  Printed 
by  Dryden  Leach  for  J.  &  R.  Tonson  in  the 
Strand,  [1767-1768]. 

Small  octavo.     Ten  volumes.     Medallion  por- 
18 


EDITED  EDITIONS 

trait  by  J.  Miller  (Chandos;  see  Pt.  II,  No. 
182a),  in  vol.  I,  p.  74  of  Introduction. 

Large  paper  copy.  Only  one  other  is  recorded. 
An  introduction,  with  Table  of  his  Editions,  is 
prefixed  to  the  first  volume. 

17  Notes    and    Various    Readings    to    Shakespeare. 
.  .  .  London:    Printed   by   H.   Hughs,    [1779- 
1783]. 
Quarto.    Three  volumes.    Portrait  of  Capell. 

Although  Capell  promised  these  notes  and  read- 
ings in  the  title-page  of  his  edition,  it  was  not  until 
1774  that  he  brought  out  the  first  part.  Meet- 
ing with  little  success,  he  recalled  the  impression 
and  decided  to  publish  the  work  by  subscription  in 
three  volumes,  the  first  two  of  which  appeared  in 
1779.  The  last,  entitled  The  School  of  Shake- 
speare,  did  not  come  out  until  1783,  two  years 
after  Capell's  death.  The  additions  are  by  John 
Collins. 


GEORGE  STEEVENS'S  EDITION,  1773 
(With  Samuel  Johnson) 

George  Steevens's  first  contribution  to  Shake- 
spearian research  was  a  reprint  of  a  collection 
of  quarto  plays,  many  of  them  borrowed  from 
David  Garrick's  library,  1766.  Impressed  by 
the  editor's  exceptional  intelligence  and  anti- 
quarian knowledge.  Dr.  Johnson  accepted  Stee- 
vens's offer  to  prepare  a  new  version  of  his  edition 
with  more  careful  annotations.  The  result  was 
considered  the  best  edition  that  had  appeared  up 

19 


WILLIAM   SHAKESPEARE 

to  that  time,  and  was  long  regarded  as  the 
standard,  the  illustrative  quotations  from  the 
works  of  Shakespeare's  contemporaries  being  of 
especial  value. 

Although  both  names  appear  on  the  title-page, 
Johnson's  share  in  the  undertaking  seems  to 
have  been  purely  advisory.  Steevens,  however, 
injured  the  appreciation  of  his  work  by  an  ex- 
hibition of  bad  taste  and  temper  in  his  allusions 
to  his  predecessors,  especially  Capell,  from 
whose  text  he  borrowed  largely.  As  he  grew 
older  his  malicious  treatment  of  those  with 
whom  he  quarreled  increased,  and,  in  later  edi- 
tions of  his  work,  won  for  him  the  title  of  the 
"Puck  of  Commentators." 

His  large  collection  of  Shakespeariana  was 
dispersed  at  auction  in  1800. 

18  Twenty  of  the  Plays  of  Shakespeare.     Being  the 

whole   Number  printed   in  Quarto  during  his 
Life-time,  or  before  the  Restoration  .  .  .  Lon- 
don: Printed  for  J.  &  R.  Tonson  .  .  .  1766. 
Octavo.    Four  volumes. 
A  few  copies  were  printed  on  large  paper. 

19  Plays  .  .  .  With    the    Corrections    and    Illustra- 

tions of  Various  Commentators.  To  which  are 
added  Notes  by  Samuel  Johnson  and  George 
Steevens.  With  an  Appendix.  London :  Printed 
for  C.  Bathurst  .  .  .  1773. 

Octavo.  Ten  volumes.  Portrait  by  Vertue 
(Chandos;  see  Pt.  II,  No.  137). 

The  appendix  was  by  Richard  Farmer,  the 
"forerunner  of  Steevens  and  Malone,"  whose 

20 


EDITED  EDITIONS 

Essay  on  the  Learning  of  Shakespeare  had  ap- 
peared in  1767. 

So-called  second,  third  and  fourth  editions  ap- 
peared during  the  editor's  life-time,  in  1778,  1785, 
and  1793  respectively.  That  of  1778  contained 
Edmund  Malone's  Essay  on  the  Chronology  of 
Shakespeare's  Plays,  while  that  of  1785  was  re- 
vised by  Isaac  Reed.  The  so-called  fifth  and  sixth 
editions,  1803  and  1813,  have  been  named  by  book- 
sellers the  First  Variorum  and  Second  Variorum. 
The  former  was  prepared  by  Isaac  Reed  (see  No. 
24),  and  the  second  is  mainly  a  reprint  of  it. 

20  Dramatic  Writings  .  .  .  With  the  Notes  of  all 
the  various  Commentators;  printed  complete 
from  the  best  Editions  of  Sam.  Johnson  and 
Geo.  Steevens  .  .  .  London:  Printed  for,  and 
under  the  Direction  of,  John  Bell  .  .  .  1786[- 
1788]. 

Duodecimo.  Twenty  volumes.  Portraits, 
plates.  Volumes  one  and  two  are  entitled: 
Prolegomena  to  the  Dramatic  Writings  of  Will. 
Shakspere. 

Large  paper  copy,  with  proof  plates  in  addi- 
tional (twenty-first)  volume. 


JOSEPH  RANN'S  EDITION,  1786-1794 

Joseph  Rann,  under  whose  auspices  a  handsome 
edition  was  brought  out  by  the  Clarendon  Press, 
was  Vicar  of  St.  Trinity,  in  Coventry.  Rann's 
"Notes"  consist  of  little  more  than  verbal  sug- 
gestions in  footnotes. 

21 


WILLIAM   SHAKESPEARE 


21  Dramatic    Works  .  .  .  With    Notes    by    Joseph 
Rann  .  .  .  Oxford:   At  the   Clarendon   Press, 
I 786 [-1794]- 
Octavo.     Six  volumes. 


EDMUND  MALONE'S  EDITION,  1790 

Edmund  Malone  was  a  painstaking,  but  not  a 
brilliant  editor,  whose  work  w^as  eulogized  by 
Burke,  but  described  by  Walpole  as  "the 
heaviest  of  all  books  .  .  .  with  notes  that  are 
an  extract  of  all  the  opium  that  is  spread 
through  the  works  of  all  the  bad  playwrights  of 
that  age."  However,  he  made  great  contribu- 
tions to  our  knowledge  of  the  early  English 
stage,  and  threw  much  light  on  the  sources  and 
chronology  of  Shakespeare's  plays. 

His  first  contribution  to  the  subject  was  an 
essay  on  the  chronology  hi  the  plays  which  was 
published  in  Steevens's  edition  of  1778,  and  two 
years  later,  as  a  supplement  to  this  edition,  he 
issued  two  volumes  containing  a  history  of  the 
English  stage  and  reprints  of  the  poems, 
Pericles,  the  six  spurious  plays,  and  Arthur 
Broke's  Romeus  and  Juliet.  He  afterwards 
quarreled  with  Steevens,  and  brought  out  his 
own  edition  in  1790.  Here,  the  poems  are 
added,  and  Pericles  first  admitted  as  authentic, 
while  the  six  plays  added  in  the  Third  and 
Fourth  Folios  are  definitely  left  out  as  spurious. 

Malone's  Dissertation  on  the  Three  Parts 
of  King  Henry  VI  appeared  in  1787.  His 
22 


EDITED  EDITIONS 

library,  containing  one  of  the  best  Shakespeare 
collections  ever  brought  together,  was  presented 
to  the  Bodleian  Library,  Oxford,  by  the  brother 
of  the  editor. 

22  Plays  and  Poems  .  .  .  collated  verbatim  with  the 
most  authentick  copies  .  .  .  With  the  Correc- 
tions and  Illustrations  of  Various  Commenta- 
tors, to  which  are  added,  an  Essay  on  the 
Chronological  Order  of  his  Plays;  an  Essay 
relative  to  Shakspeare  and  Jonson ;  a  Disserta- 
tion on  the  Three  Parts  of  King  Henry  VI ;  an 
Historical  Account  of  the  English  Stage;  and 
Notes;  by  E.  Malone.  London:  Printed  by  H. 
Baldwin  for  J.  Rivington  &  Sons  .  .  .  1790. 

Octavo.  Ten  volumes  in  eleven.  Portraits 
(Shakespeare's,  by  C.  Knight,  of  the  Chandos 
type;  see  Pt.  II,  No.  192),  plates,  woodcuts. 

This  was  reprinted  in  Dublin  in  1794.  Malone 
died  before  the  completion  of  his  revised  edition, 
which  was  issued  by  James  Boswell,  the  younger, 
in  1821  (see  No,  26). 


SOME  NINETEENTH  CENTURY 
EDITIONS 

23  Dramatic  Works  .  .  .  Revised  by  George  Stee- 
vens.  London:  Printed  by  Bulmer  &  Co.  .  .  . 
for  John  &  Josiah  Boydell  .  .  .  1802. 

Folio.  Eighteen  parts  in  nine  volumes,  contain- 
ing Boydell's  series  of  one  hundred  plates  after 
the  leading  English  artists  of  the  time. 

Issued  in  parts,  from  1791  to  1802.    The  prospec- 
tus of  1786  stated  that  a  foundry,  ink  factory  and 

23 


WILLIAM   SHAKESPEARE 

printing  house  were  specially  erected  for  making 
this  edition.  The  plates  were  issued  separately  in 
1802.  The  original  paintings  by  Reynolds,  Bun- 
bury,  Westall,  and  others,  "filled  the  great  Shake- 
speare Gallery  in  Pall  Mall,  and  made  the  name 
of  Boydell  famous." 

24  Plays  .  .  .  With  the  Corrections  and  Illustrations 

of  various  Commentators.  To  which  are  added 
Notes  by  Samuel  Johnson  and  George  Steevens. 
Fifth  edition.  Revised  and  augmented  by  Isaac 
Reed,  with  a  glossarial  index.  London :  Printed 
for  J.  Johnson  .  .  .  1803. 

Octavo.  Twenty-one  volumes.  Portrait  by 
Neagle  (Felton;  see  Pt.  II,  No.  103). 

Called  by  booksellers  the  "First  Variorum."  The 
reprint  of  181 3  is  known  as  the  "Second  Vario- 
rum"; it  is  called  on  the  title-page  the  sixth  edi- 
tion of  Steevens.  Copies  were  issued  on  large 
paper. 

25  Plays  .  .  .  London:   Printed  by  T.   Davison  for 

Peter  Wynne  &  Son  .  .  .  1807. 

Octavo.  Eight  volumes.  Woodcuts  by  Thurs- 
ton and  Nesbit. 

Two  supplementary  volumes  of  readings  and  notes 
were  added  to  this  issue.  The  first  edition  with 
woodcuts  by  Thurston  appeared  in  1803-1805. 

26  Plays  and  Poems  .  .  .  with  the  Corrections  and 

Illustrations  of  various  Commentators;  com- 
prehending a  Life  of  the  Poet  and  an  enlarged 
History  of  the  Stage  by  the  late  Edmund 
Malone,  with  a  new  glossarial  index.  London: 
F.  C.  &  J.  Rivington  .  .  .  1821. 

24 


EDITED  EDITIONS 

Octavo.  Twenty-one  volumes.  Portraits  (Chan- 
dos,  Milliard  miniature  and  Stratford  bust), 
facsimiles. 

This  edition,  upon  which  M alone  had  long  been 
engaged,  was  completed  after  Malone's  death,  by 
James  Boswell,  son  of  Dr.  Johnson's  biographer. 
It  is  commonly  known  as  the  "Third  Variorum," 
or  Boswell's  Malone,  and  is  a  most  valuable  con- 
tribution to  Shakespearian  scholarship. 

"Boswell's  chief  service  to  the  text  was  his  final 
vindication  of  the  reading  'Like  the  base  Indian,* 
in  'Othello.'  " 

27  Plays  .  .  .  London:  William  Pickering  .  .  .  1825. 

Type-page,    2^x1^    inches.      Nine   volumes. 

One  of  Pickering's  diamond  type  editions,  until 
1908  the  smallest  form  in  which  Shakespeare  had 
appeared. 

28  Dramatic  Works  ...  to  which  is  prefixed  a  Life 

of  the  Author  by  W.  Harness.  London:  Saun- 
ders &  Otley  .  .  .  1825. 

Octavo.  Eight  volumes.  Portrait  by  Swaine 
(Droeshout). 

A  scrupulously  impartial  edition.  It  was  reprinted 
for  Saunders  in  1830,  and  again  in  1833,  with 
plates  by  Heath. 

29  Dramatic  Works  .  .  .  With  Notes,  original  and 

selected,  by  Samuel  Weller  Singer,  F.S.A.,  and 
a  Life  of  the  Poet  by  Charles  Symmons.  Chis- 
wick:  Printed  by  C.  Whittingham  for  Wm. 
Pickering,  1826. 

Duodecimo.  Ten  volumes.  Portrait,  and  sixty 
woodcuts  by  Thompson,  after  Stothard  and 
others. 

25 


WILLIAM   SHAKESPEARE 

The  first  edition  to  contain  Singer's  notes,  with 
text  founded  mainly  on  Malone.  A  popular  edi- 
tion, especially  in  America,  and  often  republished. 
Singer  was  the  first  to  question  the  genuineness  of 
Collier's  manuscript  notes  in  the  so-called  Perkins 
folio. 

30  Plays  and  Poems  .  .  .  with  Life,  Dr.  Johnson's 

Preface  [etc.]  London:  A.  J.  Valpy  .  .  .  1832- 
[1834]. 

Duodecimo.  Fifteen  volumes.  Portraits  by 
Freeman  and  Starling  (Chandos;  see  Pt.  II, 
Nos.  222  and  264b),  and  outline  plates  from 
Boydell's  1802  edition. 

The  first  edition  under  the  auspices  of  A.  J.  Valpy; 
called  the  "Cabinet  Pictorial  Edition." 

31  Pictorial  Edition  of  the  Works  of  Shakespeare, 

edited  by  Charles  Knight.  London:  C.  Knight 
&  Co.,  1 838 [-1843]. 

Royal  octavo.  Eight  volumes,  published  in  fifty- 
six  parts.  Numerous  woodcuts  after  Harvey 
and  others. 

The  first  edition  edited  by  Knight,  often  reissued 
under  various  designations,  "Library  edition," 
1 842-1 844,  "National  edition,"  1 851-1853,  etc. 
It  includes  a  biography,  music  to  the  songs,  doubt- 
ful plays,  etc. 

32  Works  .  .  ,  revised    from    the   best   Authorities. 

With  a  Memoir  and  Essay  on  his  Genius  by 
Barry  Cornwall  .  .  .  Illustrated  with  Engrav- 
ings on  Wood  from  Designs  by  Kenny  Mead- 
ows.   London:  R.  Tyas,  i839[-i843]. 

Royal    octavo.      Three    volumes.      Numerous 
woodcuts   after   designs   by   Kenny    Meadows. 
26 


EDITED   EDITIONS 

Edited  by  B.  W.  Procter  (Barry  Cornwall)  and 
published  in  parts.  A  few  copies  were  printed 
on  India  paper,  on  one  side  of  the  leaf  only,  with 
proofs  of  the  illustrations. 

33  Works  .  .  .  The  Text  formed  from  an  entirely 

new  Collation  of  the  old  Editions;  with  the 
various  Readings,  Notes,  Life  of  the  Poet,  and 
a  History  of  the  Early  English  Stage  by  John 
Payne  Collier.  London:  Whittaker  &  Co, 
i84i[-i844]. 

Octavo.    Eight  volumes. 

The  first  edition  edited  by  John  Payne  Collier. 
To  it  is  sometimes  added,  as  a  ninth  and  supple- 
mental volume,  Collier's  "Notes  and  Emenda- 
tions," embodying  the  results  of  his  forgeries  (see 
next  number). 

34  Notes  and  Emendations  to  the  Text  of  Shake- 

speare's Plays  from  early  Manuscript  Correc- 
tions in  a  Copy  of  a  Folio  1632  in  the  possession 
of  John  Payne  Collier.  London:  Shakespeare 
Society,  1852 

Octavo,    xxviii,  512  pp.    Facsimile. 

Accompanied  by  the  "Perkins  Folio,"  1632,  con- 
taining the  early  manuscript  corrections  men- 
tioned in  the  title.  These  were  proved,  after 
much  controversy,  to  be  an  elaborate  forgery, 
probably  perpetrated  by  Collier  himself. 

35  Shakespeare's  Plays  .  .  .  With  his  Life.     Edited 

by  Gulian  C.  Verplanck  .  .  .  New  York:  Har- 
per &  Brothers  .  .  .  1847. 

Royal  octavo.  Three  volumes.  Portraits,  wood- 
cuts. 

27 


WILLIAM   SHAKESPEARE 

Verplanck  was  the  first  American  writer  to  under- 
take an  original  critical  edition.  His  work,  how- 
ever, is  founded  on  Collier,  and  the  illustrations 
are  borrowed  from  Knight's  edition  of  1838-43. 
It  was  issued  in  parts,  beginning  in  1844. 

36  Works  .  .  .  With   Introductions,    Notes   original 

and  selected,  and  Life  of  the  Poet  by  H.  N. 
Hudson.  Boston:  J.  Munroe  &  Co  .  .  .  1851 
[-1856.] 

Duodecimo.  Eleven  volumes.  Portrait  (Chan- 
dos),  woodcuts. 

The  first  edition  produced  by  H.  N.  Hudson.  It 
was  revised  and  issued  in  twenty  volumes  as  the 
Harvard  edition,  in  1881. 

37  Works  .  .  .  the  Text  formed  from  a  new  Colla- 

tion of  the  Early  Editions ;  to  which  are  added  all 
the  original  Novels  and  Tales  on  which  the  Plays 
are  founded ;  copious  archaeological  Annotations 
on  each  Play;  an  Essay  on  the  formation  of  the 
Text;  and  a  Life  of  the  Poet.  By  James  O. 
Halliwell  .  .  .  The  Illustrations  and  Wood 
Engravings  by  Frederick  William  Fairholt  .  .  . 
London:  Printed  for  the  Editor  by  C.  &  J. 
Adlard,  1853  [-1865]. 

Royal  folio.  Sixteen  volumes.  Portrait  (Strat- 
ford bust;  see  Pt.  II,  No.  16)  and  illustrations 
by  Fairholt,  and  facsimiles  of  title-pages. 

Issued  by  subscription,  the  edition  being  limited 
to  150  copies,  25  of  these  having  plates  on  India 
paper.  An  elaborate  work,  as  set  forth  in  the 
title,  and  the  first  issued  by  Halliwell,  the  three 
previous  ones  which  bear  his  name  being  fraud- 
ulent. 

Titus  Andronicus  and  Henry  VI  are  in  smaller 
28 


EDITED  EDITIONS 

type  than  the  other  plays,  as  HalHwell  doubted 
their  Shakespearian  authorship. 

38  Werke  .  .  .    herausgegeben  und  erklart  von  Nico- 

laus  Delius.    Elberfeld:  R.  L.  Friderichs,  1854 

[-1865]. 

Octavo.    Eight  volumes.   Portrait  in  Vol.  VIII. 

English  texts,  with  notes  and  introductions  in 
German.  "Delius's  text,  although  it  is  based 
mainly  on  the  Folios,  does  not  neglect  the  Quartos 
and  is  formed  on  sound  critical  principles."  Lee, 
Life  of  William  Shakespeare,  igi6. 

Delius  also  issued  a  one-volume  edition  in  1854. 

39  Works  .  .  .  The    Text    revised    by    Alexander 

Dyce.    London:  E.  Moxon  .  .  .  1857. 

Octavo.  Six  volumes.  Portrait  (Stratford 
bust). 

The  first  edition  under  the  editorship  of  Alexan- 
der Dyce,  a  notable  student  of  Elizabethan  litera- 
ture and  drama.  His  edition  "has  many  new  and 
valuable  illustrative  notes  and  a  few  good  textual 
emendations,  as  well  as  a  useful  glossary;  but 
Dyce's  annotations  are  not  always  adequate,  and 
often  tantalize  the  reader  by  their  brevity." 

40  Works  .  .  .  The  Plays  edited  from  the  Folio  of 

MDCXXIII.,  with  various  Readings  from  all 
the  Editions  and  Commentators;  Notes,  Intro- 
ductory Remarks  [etc.]  ...  by  Richard  Grant 
White.  Boston:  Little,  Brown  &  Co,  [1857] 
-1866. 

Octavo.    Twelve  volumes.    Two  portraits. 

The  first  edition  edited  by  Richard  Grant  White, 
and  the  best  American  edition  which  appeared  up 
to  that  date.  It  was  reissued  as  the  Riverside 
Shakespeare  in  1883. 

29 


WILLIAM   SHAKESPEARE 

41  Plays  .  .  .  edited  by  Howard  Staunton;  the  Illus- 

trations by  John  Gilbert,  engraved  by  the  Broth- 
ers Dalziel.  London:  G.  Routledge  &  Co.,  1858 
[-i860] 

Royal  octavo.  Three  volumes.  Portrait  (Strat- 
ford bust;  see  Pt.  II,  No.  29),  and  woodcuts 
after  John  Gilbert. 

The  first  edition  undertaken  by  Howard  Staun- 
ton, a  keen  textual  critic  and  student  of  stage  his- 
tory. 

42  Works  .  .  .  edited    by    William    George    Clark, 

John  Glover  [and  William  Aldis  Wright], 
Cambridge  and  London;  Macmillan  &  Co., 
1863 [-1866]. 

Octavo.     Nine  volumes. 

The  first  edition  of  the  Cambridge  Shakespeare, 
which  "exhaustively  notes  the  textual  variations  of 
all  preceding  editions,  and  supplies  the  best  and 
fullest  apparatus  criticus."  A  third  edition  ap- 
peared in  I 89 1-1893. 

The  best  one-volume  edition,  the  Globe,  first 
issued  in  1864,  is  based  on  this  Cambridge  edition. 

43  New    Variorum    Edition  .  .  .  edited    by    Horace 

Howard   Furness    [and   H.   H.    Furness   jun.] 

Philadelphia;  J.  B.  Lippincott  &  Co  .  .  .  1871 

[-1913]. 

Royal  octavo.    Eighteen  volumes. 

The  New  Variorum  Shakespeare,  which  "super- 
sedes all  previous  versions  ...  in  fulness  and 
richness  of  references,  and  in  copiousness  of  ex- 
tracts from  the  vast  mass  of  books  illustrating  the 
poet." 

30 


PART  II 
PORTRAITS 


ENGRAVED  PORTRAITS  OF 
SHAKESPEARE 

No  representation  of  Shakespeare,  made  during 
his  lifetime,  is  positively  known  to  exist.  Only 
two— the  Stratford  Bust  and  the  Droeshout 
Engraving — are  known  to  have  been  executed 
within  a  few  years  after  his  death  and  with  the 
approbation,  in  all  probability,  of  his  family  and 
friends.  That  these  two  honestly  preserve  his 
features  seems  indisputable. 

Various  alleged  portraits,  possessing  greater 
or  less  claim  to  authenticity,  as  well  as  a  multi- 
tude of  supposititious  and  fraudulent  ones,  have 
been  frequently  engraved.  The  present  exhibi- 
tion includes  examples  of  all  the  important 
types,  and  of  many  that  can  present  no  claim 
to  recognition.  The  prints  have  been  grouped 
according  to  type.  An  attempt  has  been  made  at 
chronological  arrangement  of  each  group,  but 
for  obvious  reasons  it  has  often  been  found  nec- 
essary to  depart  from  that  order. 

Dimensions  are  given  in  inches,  the  height 
being  placed  first,  and  refer  only  to  the  engraved 
work,  exclusive  of  inscriptions  or  plate-marks. 

B= Catalogue  of  Engraved  British  Portraits 
...  in  the  British  Museum,  1908-14. 

33 


WILLIAM  SHAKESPEARE 


THE  STRATFORD  BUST 

This  bust,  "really  a  half  length  statue,  with  its 
structural  wall  monument,"  is  in  the  choir  of 
Holy  Trinity  Church,  Stratford.  It  is  of  soft 
stone,  and  was  carved  prior  to  1623  by  Garret 
and  Nicholas  Johnson,  who  are  said  to  have  been 
commissioned  by  Shakespeare's  son-in-law,  and 
was  probably  seen  by  Mrs.  Shakespeare.  Al- 
though the  monument  was  repaired  in  1649  and 
again  in  the  eighteenth  century,  there  seems  little 
reason  to  believe  that  the  bust  itself  was  ex- 
tensively altered.  The  forehead  is  high  and 
bald  with  hair  massed  about  the  ears,  and  the 
upper  lip,  on  account  of  the  thinness  of  the 
moustache,  seems  long.  One  hand  holds  a  pen 
and  the  other  rests  upon  an  open  book  which  lies 
on  a  flat  cushion.  Originally  colored,  the  bust 
was  painted  white  at  Malone's  suggestion  in 
1793,  but  the  colors  were  restored  in  1861. 
Much  of  the  apparent  woodenness  of  the  face  is 
due  to  the  coloring,  as  may  be  seen  by  a  compari- 
son of  photographs  of  the  bust  and  the  uncolored 
plaster  cast  here  shown. 

It  was  first  engraved  in  1656  after  an  inaccu- 
rate sketch  by  Sir  William  Dugdale  (made  in 
1634),  for  his  Antiquities  of  Warwickshire. 
Vertue's  engraving,  1725,  Gravelot's,  1744,  and 
the  Cast  by  George  Bullock,  18 14,  all  present 
variations,  and  will  be  found  noted  below. 


34 


ENGRAVED  PORTRAITS 

1  A  Plaster  Cast  of  the  face  of  the  Stratford  Bust; 

taken  directly  from  the  monument. 

Size  of  face,  12  x  9. 

2  Anonymous.  Line. 

The  Stratford  Monument,  with  effigy  and  archi- 
tectural features  differing  considerably  from  the 
original,  the  hands  lying  palms  downward  on  a 
well  stuffed  cushion. 

PI.  to  Dugdale's  Antiquities  of  Warwickshire, 
1656,  after  the  author's  sketch,  the  earliest  pic- 
ture of  the  monument  which  survives.  The  en- 
graving was  reproduced  in  Dugdale's  second  edi- 
tion, 1730. 

3  Anonymous.  Line. 

Copy  of  preceding.    Below:  p.  3y  in  the  Life. 
63^x4. 

PI.  to  Rowe's  edition  of  Works,  1709. 
3a  Grignion  ScuLpT.  Line. 

Another  copy  of  No.  2.  Shakspere's  Monument 
in  the  Church  at  Stratford  upon  Avon. 

B:37.    4Hx2H- 

Pub.  by  Bell,  1786;  pi.  to  Works. 

4  G.  Vertue  Sculp.  Line. 

The  monument,  with  bust,  with  head  done  from 
the  Chandos  picture;  rectangle. 

B :  40.    SJi  X  6^. 

PI.  to  Pope's  edition  of  Works,  1725. 

35 


WILLIAM  SHAKESPEARE 

5  H.  Gravelot  Sculp.  Line. 

Same  monument;  mainly  following  Vertue's  de- 
sign; rectangle. 

PI.  to  Hanmer's  edition  of  WorkSj  1744. 

6  Same  Plate.    Unfinished  proof. 

7  S.  Harding  del: — A.  Birrell  sc.  Line. 

The   monument,   with   bust;   with   head   as   in 
monument;  rectangle. 

B:34.    SKXSM. 

PI.  to  Harding's  Shakespeare  illustrated,  1793. 

8  Same  Plate.    Proof  on  large  paper. 

9  R.  Cooper  Sculp.  Stipple. 

Same  monument.     Shakespeare's  Monument  at 
Stratford  on  Avon. 

4x3- 

On  engraved  title-page  of  Oxberry's  Dramatic 
Biography. 

10  Same   Plate.     On   title-page   of    The  Drama   or 

Theatrical  Pocket  Magazine.     Vol.  I. 

B:35. 

11  Drawn  &  Eng".  by  H,  S.  Storer. — for  Coles 

Residences  of  Actors.  Line. 

Same     monument;     rectangle.       Shakespeare's 
Monument,  Stratford  on  Avon. 

36 


ENGRAVED  PORTRAITS 

12  Rock  &  Co.  London— No.  825  Line. 

Same  monument,  over  view  of  Stratford.  Shake- 
speare's Monument.    Stratford  upon  Avon. 

3x2^- 

13  Engraved  by  W.  Wallis,  from  a  drawing  in 

THE  POSSESSION  OF  J.  BrITTON  EsQ«.  ThE  FIG- 
URE OF  THE  BUST  BY  A.  WiVELL.  Line. 

Same  monument;  rectangle. 
6:41.    4^x3. 

Pub.  by  A.  Wivell,  1827;  front,  to  his  Inquiry 
into  the  History  .  .  .  of  the  Shakspeare  Por- 
traits.    (See  book.) 

14  Same  Plate.     Proof  before  inscription,  engraver's 

name  lightly  etched. 

15  Engrav'd  by  J.  Neagle,  from  a  Drawing  by 

Jos".  BOYDELL  .  .  .  Line. 

Same  monument;  rectangle.  Shakspeare's 
Monument  in  the  Church  at  Stratford  upon 
Avon. 

B:39.    11x6^. 

Pub.  by  Boydell;  pi.  to  Works,  1802. 

16  F.  W.  Fairholt  del.  et  Sc.  1852  Stipple. 

Same  monument. 

10^x4^, 

PI.  to  Halliwell's  edition  of  Works,  1853;  im- 
pression on  India  paper. 

17  Anonymous.  Lithograph  in  colors. 

Same  monument. 
8^x3^. 

37 


WILLIAM  SHAKESPEARE 

18  Colored  photogravure. 

Same  monument. 

19  Colored  reproduction. 

Same  monument. 

8^x5. 

Front,  to  Lee's  Life  of  William  Shakespeare, 

1899.    (See  large  paper  copy  of  book.) 

20  Engraved  by  J.   S.  Agar  from  an  original 

Drawing  by  A.  Wivell  .  .  .  Stipple. 

The  bust  of  the  monument,  in  niche,  full  face; 
rectangle.  Shakspeare.  To  the  King's  Most 
Excellent  Majesty  .  .  . 

8:43.    7x4^. 

Pub.  by  George  Lawford,  1825.  Proof  on  India 
paper. 

21  Same  Plate.    Proof  before  letters. 

22  [H.  Robinson]  Stipple. 

Similar  print. 

6^X4^4. 

Proof  on  India  paper  before  all  letters. 

23  Engraved  by  Wm.  Ward  A.R.A.  from  a  Paint- 

ing BY  Thos.  Phillips  Esq*.  R.A.  after  a 
CAST  BY  G.  Bullock  .  .  .  Mezzotint. 

The  bust  of  the  monument,  to  right;  rectangle. 
Mr.  William  Shakspeare.    "His  true  Effigies." 

8:51.    8^x6. 
Pub.  by  J.  Britton,  1816. 
38 


engraved  portraits 

24  Engraved  by  W.  T.  Fry,  after  a  Cast  made  by 

Mr.  George  Bullock  .  .  .  Stipple, 

Same  bust,  to  right;  rectangle  formed  of  double 
lines.    Shakspeare. 

8:46.    6^X5>4. 

Pub.  by  T.  Cadell  &  W.  Davies,  1817;  front,  to 
Drake's  Shakespeare  and  his  Times. 

25  Engraved  by  E.  Scriven.  Stipple. 

Same  bust,  head  only,  to  left,  vignette.  Drawn 
by  Mr.  John  Boaden  from  the  Stratford  Bust. 

5^X4^- 

Pub.  by  Saunders  and  Ottley,  1825. 

26  Same  Plate.    Proof  before  publisher's  inscription. 

6:48. 

PI.  to  Boaden's  Inquiry,  1824. 

27  Same  Plate.  Proof  on  India  paper  with  engraver's 

name  lightly  etched. 

28  Anonymous.  Stipple. 

Copy  of  preceding,  yignette,  with  background  of 
perpendicular  lines.  Shakspere.  From  his 
Monument  .  .  . 

8:49.    5Hx4}i' 
Pub.  by  Virtue  &  Co. 

29  E.  W.  Robinson^  del. — H.  Robinson,  sc. 

Stipple. 

The  bust  of  the  monument,  to  right.  William 
Shakespeare.  From  the  bust  in  the  Church  at 
Stratford  upon  Avon. 

B:47.    6Mx4>4. 

Front,  to  Staunton's  edition  of  Plays,  1858. 

39 


WILLIAM  SHAKESPEARE 

30  [E.  Bocquet]  Stipple. 

Same  bust,  to  left;  rectangle  of  double  lines. 

6x4^, 

Proof  before  letters. 

31  Engraved  by  Francis  Holl.  Stipple. 

Same  bust,  to  right;  rectangle.    William  Shake- 
speare.   From  his  Monument  at  Stratford. 

32  Same  Plate.    Proof  before  all  letters. 

33  [Anonymous.]  Stipple. 

Same  bust,  full  face;  rectangle. 

3>4X2^. 

Private  plate.    Proof  before  all  letters  on  India 
paper. 

34  Drawn   by  J.  Thurston. — Engraved   by  W. 

FiNDEN.  Line. 

Same  bust,  to  right;  rectangle.     William  Shak- 
speare.    From  the  Monumental  Effigy  .  .  . 

4x33^- 

Pub.  by  W.  Walker,  1820;  pi.  to  Effigies  Poeti- 

cae. 

35  Same  Plate.    Proof  on  India  paper. 

36  J.  Thurston. — F.  Halpin.  Stipple. 

American  copy  of  preceding.     William  Shake- 
speare.   From  the  Monumental  Effigy  .  .  . 

3^x3. 

Pub.  by  Daniels  &  Freeman. 
40 


ENGRAVED  PORTRAITS 

37  Published  by  C.  J.  Smith  Engraver,  London, 

1836.  Stipple. 

Same  bust,  full  face,  vignette,  above  collection 
of  autographs.  Monumental  Bust  of  Shake- 
speare,  at  Stratford  upon  Avon. 

2X  I^. 

38  Engraved  by  T.  A.  Deane,  after  a  drawing  by 

A.  WiVELL,  FROM  THE  BuST  BY  GerARD  JoHN- 

SON  .  .  .  Stipple. 

Same  bust,  head  only,  to  left;  rectangle.  Shak- 
speare. 

8:44.    2^x2^. 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry. 

39  Same  Plate.    Proof  on  India  paper. 

40  G.  Greatbach.  Stipple. 

Same  bust,  full  face,  surrounded  by  scenes  from 
Plays  designed  by  T.  D.  Scott. 

8M  X  6. 

Pub.  by  John  Tallis  &  Company ;  pi.  to  Sonnets. 

41  Same  Plate.    With  imprint  of  The  London  Print- 

ing and  Publishing  Company. 

42  Engraved  by  J.  B.  Longacre.  Stipple. 

Same  bust,  framed,  surrounded  by  other  por- 
traits of  poets  connected  by  scrolls.  Above:  Bust 
of  Shakspeare. 

3>^X2j4. 

StauflFer  2139. 

Proof  on  India  paper. 

41 


WILLIAM  SHAKESPEARE 

43  Eng°.  by  O.  H.  Throop.  Stipple. 

Copy  of  preceding.    Bust  of  Shakspeare  .  .  . 

3>4x2>4. 

Not  in  Stauffer. 

44  [?]  Stipple. 

Same  bust,  head  only,  to  left,  vignette.     fFil- 
liam  Shakespeare  From  The  Stratford  Bust. 

45  G.  H.  Hodges,  lith  :  .  .  .      Lithograph,  colored. 

Same    bust,    full    face,    vignette.      Shakspeare, 
From  the  Monument  in  Stratford  Church  .  .  . 

3^X2^. 

Pub.  by  Ward. 

46  Same  Plate.    Proof  before  letters. 

47  Colored  photogravure. 

Same  bust,  head  only;  full  face,  rectangle. 

2X2%. 

48  Sherborn,  pinxit,  et  Sculpsit,  Londini.    1876. 

Etching. 
Portrait  derived  from  same  bust,  with  fanciful 
additions;  to  left,  in  rectangle.  William  Shak- 
spere  [in  autograph]  Poeta,  Philosophus,  Ac- 
tor ..  . 

8:63.     63^x4. 

First  state  of  the  plate ;  with  ring  on  little  finger 
and  earring. 

49  Same  Plate.     Second  state;  with  ring  on  first  fin- 

ger, and  earring  erased.    Date  1897  added. 
4a 


ENGRAVED  PORTRAITS 


THE  STRATFORD,  OR  HUNT, 
PORTRAIT 

This  portrait,  presented  to  the  Birthplace  Trus- 
tees in  1864  by  William  Oakes  Hunt,  town 
clerk  of  Stratford,  is  mentioned  here  as  it  was 
evidently  founded  upon  the  Stratford  Monu- 
ment. The  claim  that  it  was  the  original  from 
which  the  bust  was  made  is  without  foundation, 
judges  of  painting  declaring  that  it  cannot  date 
further  back  than  1758,  when  it  is  said  to  have 
come  into  the  possession  of  the  Hunt  family. 


50  Photograph  of  the  Stratford   Portrait,   showing 

frame. 

II  xgH' 

51  Another   photograph  of   the   Stratford    Portrait, 

framed  in  wood  taken  from  an  original  beam  of 
the  room  where  Shakespeare  was  born. 

Accompanied  by  photograph  of  the  room,  simi- 
larly framed. 

52  Colored  photogravure. 

[The  Stratford  Portrait.] 

2^X2^. 

53  Anonymous.  Line. 

Half-length,  to  left;  rectangle  over  facsimiles 
43 


WILLIAM  SHAKESPEARE 

of    autograph.       The    Stratford    Portrait    Of 
Shakspere. 

THE  DROESHOUT  ENGRAVING 

The  portrait  engraved  by  Martin  Droeshout  for 
the  First  Folio  edition  of  Shakespeare's  plays, 
1623,  gains  distinction  from  the  fact  that  it  was 
made  for  that  volume,  and  accepted  by  his 
friends  and  fellow  actors,  who  were  partly 
responsible  for  it.  Ben  Jonson's  congratulatory 
lines  seem  to  indicate  that  the  likeness  was  good, 
for  the  workmanship  does  not  merit  his  praise. 
The  face  is  long,  with  scanty  moustache,  and  the 
suspicion  of  a  beard  under  the  lower  lip.  The 
collar  is  stiff  and  wide,  and  the  coat  closely  but- 
toned and  elaborately  trimmed. 

Marshall  copied  the  portrait  in  1640,  and 
Faithorne  in  1655,  both  introducing  fanciful  de- 
tails. 

There  has  been  much  speculation  as  to 
whether  Droeshout  worked  from  an  original 
painting,  and  various  portraits  have  been  put 
forward  as  the  one  which  served  him  as  guide. 
Of  these  the  Flower  Portrait  (see  Nos.  100, 
loi)  has  been  the  most  generally  accepted, 
though  none  can  be  positively  identified. 

54  Martin.  Droeshout:  sculpsit.  London.    Line. 

Bust,  to  left,  with  stiff  collar,  and  embroidered 
coat;  rectangle. 

7^x6M. 

44 


ENGRAVED  PORTRAITS 

On  title-page  of  First  Folio,  1623.    (See  book.) 
Two  copies  of  an  earlier  state  exist. 

55  Same   Plate,   reworked;   on  title-page  of   Second 

Folio,  1632.     (See  book.) 

56  Same  Plate,  further  altered;  ten  type-printed  lines 

by  Ben  Jonson  below. 

B:  I. 

Front,  to  Third  Folio,  1664.    (See  book.) 

57  Same  Plate,  still  further  altered;  with  verses  in 

later  type;  front,  to  Fourth  Folio,  1685.     (See 
book.) 

B:2. 

58  Anonymous.  Line. 

A  close  copy  of  the  Droeshout  plate. 

59  Anonymous.  Line. 

Another  copy  of  the  Droeshout  plate,  without 
his  name. 

8x6^. 

60  Anonymous.  Line. 

Another  copy  of  the  Droeshout  plate,  with  his 
name;  reduced. 

4x33^. 

61  Anonymous.  Line. 

Another  copy  of  the  Droeshout  plate.     To  the 
45 


WILLIAM  SHAKESPEARE 

Reader.     [lo  lines  of  verse  by  Ben.  Jonson.] 
William  Shakespeare.  .  .  . 

Pub.  by  W.  Smith, 

62  Anonymous.  Line. 

Bust,  to  left;  rectangular  frame  with  garlands 
of  laurel.     William  Shakspere. 

B:  10.    4^x3. 

Pub.  by  J.  Bell,  1786;  front,  to  Works. 

63  Engrav'd  by  W.  Sherwin  from  the  Original 

Folio  Edition.  Line. 

Bust,  to  left;  oval.     William  Shakspeare. 

B:  7-    5^x5. 

Pub.  by  John  Stockdale,  1790;  front,  to  Dra- 
matic Works. 

64  Engrav'd  by  H.  Brocas  from  the  Original 

Folio  Edition.  Line. 

Copy  of  preceding.    William  Shakspeare. 

65  Martin  Droeshout.— H.  Robinson.  Line. 

Bust,  to  left;  rectangle,  with  facsimile  of  auto- 
graph. 

B:6.    53^X4>^. 

Front,  to  Lansdowne  edition  of  Works,  1852. 

66  Same  Plate.    Impression  on  India  paper. 

67  Same  Plate.    Proof  before  the  facsimile  of  auto- 

graph. 

46 


ENGRAVED  PORTRAITS 

68  Anonymous.  Line. 

Bust,  to  left;  rectangle,  with  facsimile  of  auto- 
graph. After  the  Print  by  Martin  Droeshout 
.  .  .  Engraved  from  the  Folio  Edition  1623. 

Pub.  by  RoUo,  New  York. 

69  J.  SwAiNE  sc.  Line. 

Similar  print,  without  facsimile  of  autograph. 
Shakspeare  from  the  First  Folio  Edition. 

B:8.    S'A^^'A- 

PI.  to  Boaden's  Inquiry,  1824. 

70  Same  Plate.    Impression  on  India  paper. 

71  Thurston  delt.— Rivers  sculp^.  Line. 

Similar  print.    William  Shakspeare. 

B:5.    aVs^Z'A 

Pub.  by  Sherwin  &  Co.,  1821. 

72  Engraved  by   C.   Picart  from  the  original 

Print  by  Martin  Droeshout.  Stipple. 

Similar  print.    William  Shakspeare. 

B:4.    sVsX^H- 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry. 

73  Same  Plate.    Impression  on  India  paper. 

74  Engraved  by  H.  Cook.  Line. 

Similar  print.  William  Shakespeare.  Engraved 
from  the  Folio  Edition  1623. 

554  X4M. 

Pub.  by  Whittaker  &  Co. 
47 


WILLIAM  SHAKESPEARE 

75  Same  Plate.     On  India  paper,  with  inscription: 

William  Shakespeare.  Engraved  from  the  Por- 
trait by  M.  Droeshout  in  the  Folio  Edition 
1623. 

76  Same  Plate.     Proof  on  India  paper,  before  all 

letters. 

77  Anonymous.  Line. 

Similar  print.  William  Shakespeare.  From  the 
Folio  of  1623. 

78  Martin  Droeshout — R.  C.  Bell  Line, 

Similar  print,  with  facsimile  of  autograph. 

79  ScHOFF  SC.  Line. 

Similar  print. 
3^x2^. 
Unlettered  proof. 

80  W.  M[arshall]  sculpsit.  Line. 

Half-length,  to  right;  cape  over  right  shoulder, 
left  hand  holding  laurel  branch;  oval  in  rect- 
angle, with  eight  lines  of  verse  below. 

5Mx3- 

Front,  to  Poems j  1640.     (See  book.) 

Marshall's  version  of  the  Droeshout  plate. 

81  Anonymous.  Line. 

48 


ENGRAVED  PORTRAITS 

Copy  of  preceding,  published  by  Baldwin,  with- 
out engraver's  initials.  Above:  To  Face  the 
First  Page  N".  J  of  Shakespeares  Will. 

82  Same  Plate.    Without  line  at  top,  and  with  Pub- 

lished by  Baldwyn,  etc.,  added  at  bottom. 

83  Anonymous.  Line. 

Another  copy  of  No.  80. 

5Mx2^. 

Same  type,  with  "W.  M.  sculpsit"  in  lower  right 

corner. 

PI.  to  Boaden's  Inquiry,  1824. 

84  Same  Plate,  with  "From  the  Edition  of  his  Poems, 

164.0"  added. 

85  Same  Plate.    Proof  on  India  paper. 

86  Delattre  scuLpT.  Line. 

Copy  of  Marshall's  plate,  with  floral  decora- 
tions, and  without  verses. 

B:  18.    sVsxsH- 

Pub.  by  Bell,  1786;  pi.  to  fForks. 

87  Same  Plate.    Proof  on  large  paper. 

88  H.  Robinson  Sc.  Stipple. 

Another  copy  of  No.  80,  oval  only,  with  fac- 
simile of  autograph,  and  without  the  verses. 

B:  19.    2>^X2>^. 

Pub.  by  Pickering,  1832. 

49 


WILLIAM  SHAKESPEARE 

89  Anonymous.  Stipple. 

Copy  of  preceding. 
3x2^. 

90  [Faithorne.]  Line. 

Bust,  to  right;  oval  medallion,  in  print  showing 
Lucretia  stabbing  herself  in  presence  of  Col- 
latinus;  rectangle. 

Size  of  print,  4^  x  3. 

Front,  to  Rape  of  Lucrece,  1655.    (See  book.) 

91  R.  Sawyer.  Line. 

Copy  of  preceding,  published  by  Rodd. 
B:  15.    4^x3. 

92  Same  Plate.    With  Engraved  by  R.  Sawyer  from 

the  Original  .  .  .  added. 

B:[i5+] 

PI.  to  Wivell's  Inquiry,  1727.     (Sup.) 

93  Same  Plate.    The  head  in  oval,  separately  printed. 

94  Engraved  by  F.  Collyer.  Stipple. 

Bust,  to  left;  rectangle,  in  frame  with  symbolic 
ornaments.    Faithorne  type.    W.  Shakspeare. 

4^x2^. 

Pub.  by  J.  Nichols  &  Son,  18 10. 

95  Same  Plate.    Proof  on  large  paper. 

96  M  Droeshout — W.  H.  Worthington  sc. 

50 


ENGRAVED  PORTRAITS 

Similar  print;  with  facsimile  of  autograph  on 
tablet  in  rectangle. 

B:9.    53^x3^. 

Pub.  by  William  Pickering,  1825. 

97  Engraved  by  Augustus  Fox  from  a  Picture 

PAINTED  BY  T.  StOTHARD,  R.A.,  FROM  THE  RARE 

Print  by  Droeshout.  Line. 

Bust,  to  left;  oval,  with  garlands.    Shakespeare. 

B:3.    I'Axi'A- 

Pub.  by  William  Pickering,  1825;  pi.  to  Plays. 

98  Same  Plate.    Impression  on  large  paper. 

99  Thomas  Stothard's  Original  Drawing  for  No.  97. 

THE  FLOWER  PORTRAIT 

In  1892  there  was  discovered  at  Peckham  Rye 
a  faded  portrait  painted  on  a  panel  by  an  un- 
known artist,  with  the  inscription,  "Willn  Shake- 
speare, 1609."  From  its  strong  resemblance  to 
the  Droeshout  print  and  the  fact  that  Sir  Ed- 
ward Poynter  and  other  connoisseurs  have  pro- 
nounced that  it  antedates  the  engraving,  it  seems 
possible  that  it  may  be  the  original  on  which 
Droeshout  based  his  work.  Mr.  M.  H.  Spiel- 
mann,  however,  while  granting  that  it  may  be 
the  earliest  existing  painted  portrait  of  the  poet, 
argues  that,  as  it  resembles  the  later  states  of 
the  plate  more  than  the  earliest  existing  one,  it 
cannot  be  the  painting  from  which  the  engrav- 
ing was  made.  In  1895  the  portrait  was  pur- 
chased by  Mrs.  Charles  Flower,  and  presented 

51 


WILLIAM  SHAKESPEARE 

to  the  Memorial  Picture  Gallery,  at  Stratford, 
where  it  now  hangs.  It  is  sometimes  called  the 
Droeshout  Portrait. 

lOO  Reproduction  in  colors  of  the   Flower  Portrait; 
published  by  the  Medici  Society,  1909. 

B:  14.     17^x13^. 

loi   Photogravure. 

Another  reproduction  of  the  Flower  Portrait. 
William  Shakespeare  from  the  "Droeshout" 
paint  in  ff  .  .  . 

4J^X3J4. 

Pub.  by  Smith,  Elder  &  Co. ;  pi.  to  Lee's  Life  of 
William  Shakespeare,  1899;  also  used  as  front, 
to  the  New  Edition,  1916. 


THE  ELY  PALACE  PORTRAIT 

Another  portrait  resembling  the  Droeshout  en- 
graving, but  less  closely  than  does  the  Flower 
Portrait,  is  one  discovered  in  1845,  and  pur- 
chased by  Thomas  Turton,  Bishop  of  Ely.  On 
his  death,  it  was  acquired  by  Henry  Graves, 
who  presented  it  to  the  Birthplace,  and  it  has 
been  claimed  that  it  is  the  original  of  the  print. 
Experts,  however,  question  its  early  date,  though 
it  possesses  artistic  value. 

102  Colored  photogravure. 

A  reproduction  of  the  Ely  Palace  Portrait. 

2%X2J4. 

52 


ENGRAVED  PORTRAITS 


THE  FELTON  PORTRAIT 

Another  portrait  of  the  same  general  character 
as  the  Flower  and  Ely  Palace  is  the  so-called 
Felton  Portrait,  purchased  by  S.  Felton  in  1792, 
and  championed  by  George  Steevens  and  others 
as  the  original  source  of  the  Droeshout  print. 
It  is  painted  on  an  old  panel,  and  bears  the 
inscription  "Gul.  Shakespear  1597,  R.  B."  giv- 
ing rise  to  the  contention  that  it  was  painted  by 
Shakespeare's  fellow  actor,  Richard  Burbage. 
A  copy  made  by  John  Boaden  in  1792  is  in  the 
Shakespeare  Memorial  Gallery  at  Stratford.  It 
was  engraved  by  Boydell  for  Steevens  in  1797. 
While  in  the  hands  of  Richardson,  the  print- 
seller,  it  was  fraudulently  engraved  by  Trotter 
and  others,  attired  in  the  Droeshout  costume, 
which  does  not  appear  in  the  picture.  Mr. 
Spielmann  calls  attention  to  its  great  resemblance 
to  the  inaccurate  print  after  the  Droeshout  en- 
graving prefixed  to  Ayscough's  edition  of  the 
Dramatic  Works,  1790,  two  years  before  the 
discovery  of  the  Felton  Portrait.   (See  No.  63.) 

103  J.  Neagle  sqt  Line. 

Bust,  to  left;  dress  plain  with  flat  collar;  oval. 
William  Shakspeare. 

B:30.    4x3%- 

Pub.  by  J.  Johnson,  1803;  front,  to  Works. 

104  C.  Warren  sc.  Line. 

53 


WILLIAM  SHAKESPEARE 

Similar  print.    William  Shakspeare. 

B:3i-    3H^2ys. 

Pub.  by  J.  Johnson,  1803. 

105  Evans  sc.  Stipple. 

Similar  print;  in  oval  frame  of  laurel  with  title 
on  tablet.  William  Shakspeare.  Born 
MDLXIV  Died  MDCXVI. 

53^x3^. 

106  Engraved  by  Evans,  From  An  Original  Pic- 

ture. Stipple. 

Bust,  to  left;  plain  dress  and  stiff  collar;  rect- 
angle.    William  Shakspeare. 

4x2^. 

Pub.  by  Longman  &  Co.,  1806. 

107  Engraved  by  W.  T.  Fry,  From  an  Original 

Picture.  Stipple. 

Similar  print.     William  Shakspeare. 

Pub.  by  Longman  &  Co.,  181 9. 

108  J.  Bo  YD  sc  Line. 

American  copy  of  No.  104.  William  Shakspeare. 

3H^3'A- 

Staufler:  262. 

Front,  to  Plays,  Boston,  1813;  8vo. 

109  J.  Boyd  sc.  Stipple. 

54 


ENGRAVED  PORTRAITS 

Reduced  copy  of  preceding.  William  Shak- 
speare. 

3x29^. 

Stauffer:  263. 

Front,  to  Plays,  Boston,  1813;  24010. 

no   R.    BURBAGE   PINX^.    1597. — J.    CoCHRAN   SCULP^. 

Stipple, 

Bust,  to  left ;  in  rectangular  frame.  Shakspeare 
The  property  of  George  Nicol  Esq*". 

4^X3^- 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiries. 

111  Same  Plate.    Proof  on  India  paper. 

112  Same   Plate.     Proof   on   India  paper,   before   all 

letters. 

B:  21. 

113  R,  BURBAGE,  PiNXT.— H.  WrIGHT  SmITH,  ScULpT. 

Stipple. 
Copy  of  preceding,  with  forehead  modified. 
4}i  X  2^.    Cut  close.    PI.  to  White's  edition. 

114  Same  Plate.     With  engraver's  name  erased;  fac- 

simile of  autograph  added.    Also  cut  close. 

115  Anonymous.  Lithograph. 

Bust,  to  left;  plain  dress  with  stiff  band;  rect- 
angle, with  facsimile  of  inscription.  J  Fac- 
simile in  all  but  colour,  of  the  remains  of  a  Por- 
trait, on  panel  of  William  Shakspeare  .  .  . 

iixgj^. 

Pub.  for  William  Nicol,  185 1. 

55 


WILLIAM   SHAKESPEARE 

1x6  G.  Greatbach.  Stipple. 

Bust,  to  left;  oval,  with  scenes  in  his  plays  de- 
signed by  T.  D.  Scott.  The  Burbage  Portrait. 
Tragedies. 

8x5^. 

Pub.  by  John  Tallis  &  Co.,  London;  front,  to 
his  Tragedies. 

117  Sanne  Plate.    With  imprint  of  The  London  Print- 

ing and  Publishing  Company. 

118  Plate  i.— T.  Trotter  Sculp^.  Line. 

Bust,  to  left;  rectangle;  the  head  only  is  fully 
engraved,  the  figure  (in  the  Droeshout  dress) 
being  show^n  in  outline.  [Inscription  in  fac- 
simile.] From  the  Original  Picture  in  the  Pos- 
session of  Mr.  Felton  .  .  . 

6:24.    5^x4^. 

Pub.  by  W.  Richardson,  1794. 

119  Plate  2. — T.  Trotter  Sculp^.  Line. 

Repetition  of  the  preceding,  but  with  the  figure 
fully  engraved.  William  Shakspeare.  From 
the  original  Picture  in  the  Possession  of  Mr. 
Felton. 

8:25.     5V4^AV2- 

Pub.  by  W.  Richardson,  1794. 

120  Same  Plate.    Proof  on  large  paper. 

121  L  GoDOFROY  Sculp.  Line. 

Similar  print. 

William  Shakspeare,  1597  .  .  . 
56 


ENGRAVED  PORTRAITS 
B:  22.      I2^X8>^. 

Pub.  by  W.  Richardson,  1796. 

122  Jno  Thurston  delin — Chas  Warren  sculp. 

Line. 

Bust,  to  right;  oval  frame  with  ornaments. 

On  frame:  Shakspeare. 

B:26.    6^X3^. 

Pub.  by  J.  Wallis,  1805;  front,  to  Plays. 

123  Same  Plate.    Proof  on  India  paper,  before  letters. 

124  Engraved  by  C.  Warren  .  .  .  Line. 

Bust,   to   left;    rectangle   with   musical   instru- 
ments, etc.    W.  Shakspeare. 

8:27.    sVA-xzVk. 

Pub.  by  Kearsley,  1806;  front,  to  Wood's  edi- 
tion of  Plays. 

125  H,  Adlard  sc.  Stipple. 

Bust,  to  right;  curtain  in  background;  irregu- 
lar rectangle.     William  Shakspeare. 

41^x2^. 

Pub.  by  Welton  &  Jarvis,  1821. 

126  Engraved  by  Cosmo  Armstrong.  Line. 

Bust,    to    left;    rectangle.     Painter    Unknown. 
William  Shakspeare. 

See  B:  23.    2^x2. 

Pub.  for  the  Proprietor,  1822;  pi.  to  Physiog- 
nomical Portraits,  1824. 

57 


WILLIAM  SHAKESPEARE 

127  Anonymous.  Stipple. 

Similar  print. 

Proof  before  letters.  Presentation  copy  to 
Bernard  Barton,  the  Quaker  poet. 

128  Anonymous.  Stipple. 

Bust,  to  left,  in  Droeshout  dress ;  vignette ;  back- 
ground with  books  and  curtains.  William 
Shakespeare.    Expired  on  April  23rd,  1616  .  .  . 

Pub.  by  William  Darton,  1822;  pi.  to  Cabinet 
of  Portraits,  1823. 

129  Engraved  by  Thomson.  Stipple. 

Bust,    to    right,    vignette;    Droeshout    dress. 

Shakspeare. 

3^x3^. 

Pub.  by  Henry  Fisher,  1823. 

130  Engraved  by  J.  Thomson  .  .  .  Stipple. 

Reduced  copy  of  preceding.  William  Shak- 
speare. 

Pub.  by  James  Robins,  1827. 

131  Same  Plate.     With  publication  line  erased,  and 

Page  52g  added. 

132  Same  Plate.    Page  529  erased. 

133  I-  J-  Penstone  Stipple. 

Half-length,  to  right;  Droeshout  dress  with 
drapery  over  right  arm;  rectangle.  Below, 
masks,  etc 

58 


ENGRAVED  PORTRAITS 

Size  of  rectangle,  sH  ^  4^« 
Pub.  by  I.  J.  Chidley. 

134  Colored  photogravure.  , 

Bust,  to  left;  rectangle. 

THE  CHANDOS  PORTRAIT 

Perhaps  the  most  famous  of  the  alleged  portraits 
of  Shakespeare,  certainly  the  one  oftenest  chosen 
for  reproduction,  is  that  called  the  Chandos, 
now  in  the  National  Gallery.  Tradition  (un- 
corroborated) has  it  that  it  was  painted  by 
Richard  Burbage,  and  that  he  gave  it  to  Joseph 
Taylor,  both  being  Shakespeare's  fellow  actors. 
It  seems  to  have  belonged  at  one  time  to  Sir 
William  d'Avenant,  and  then  to  the  actor,  Bet- 
terton,  and  to  Mrs.  Barry,  after  whose  death  it 
was  owned  by  Robert  Keck  and  John  Nichols, 
and  finally  became  the  property  of  the  Dukes  of 
Chandos.  At  the  sale  of  the  effects  of  the  Duke 
of  Buckingham  and  Chandos,  at  Stowe,  it  was 
purchased  by  the  Earl  of  Ellesmere,  who  pre- 
sented it  to  the  nation  in  1856. 

The  features  are  Italian  rather  than  English ; 
heavy  hair  falls  over  a  loose,  narrow  collar,  at 
the  sides,  though  the  forehead  is  high  and  bald ; 
the  beard  extends  from  ear  to  ear ;  in  the  left  ear 
is  a  plain  gold  earring.  It  seems  possible  that 
the  portrait  was  painted  from  fanciful  descrip- 
tions of  the  poet  some  years  after  his  death.  A 
copy  painted  by  Kneller  for  Dryden  in  1693  is 

59 


WILLIAM   SHAKESPEARE 

now  owned  by  Earl  Fitzwilliam,  and  numerous 
copies  were  made  in  the  eighteenth  century, 
notably  that  of  G.  Van  der  Gucht,  in  colored 
crayons,  belonging  to  Earl  Howe,  and  a  crayon 
drawing  which  Malone  commissioned  Ozias 
Humphry  to  prepare,  now  in  the  Birthplace  col- 
lection. The  original  and  the  copies  have  fre- 
quently been  engraved.  Among  the  best  known 
engravings  are  Van  der  Gucht's,  1 709,  Vertue's, 
1 7 19,  and  Houbraken's,  1747. 

It  has  been  claimed  that  the  so-called  Lumley 
Portrait,  doubtfully  said  to  have  belonged  to 
Lord  Lumley  who  died  in  1609,  is  the  original 
of  the  Chandos  picture.  It  is  the  property  of 
Mr.  Burdett-Coutts,  and  bears  some  resem- 
blance to  the  Chandos  Portrait,  of  which  it  may 
be  an  early  copy. 

135  M:  V".  Gucht  Sculp.  Line. 

Bust,  to  left,  in  small  oval,  on  pedestal ;  crowned 
by  Comedy  and  Tragedy,  Fame  blowing  trum- 
pet above. 

B.  74.    7  X  414. 

Front,  to  Rowe's  edition  of  Works,  1709. 

136  Geo:  Vertue  Londini— Sculpsit  17 19.       Line. 

Bust,  to  right;  oval  frame  on  pedestal  in  rectan- 
gle. Above:  William  Shakespeare.  Ob*.  An°. 
Dom  1616  Aetat  53.  [Four  lines  of  verse  on 
pedestal.]  Done  from  the  Original  now  in  the 
Possession  of  Robert  Keck  of  the  Inner  Temple 
Esq"".    Sold  by  G.  Vertue  .  .  . 

B:  107.    14x9)4. 

60 


ENGRAVED  PORTRAITS 

Vertue's  version  of  the  Chandos  portrait,  with 
doublet  of  figured  silk. 

137  G.  Vertue— ScuLPSiT.  Line. 

Reduced  copy  of  preceding;  with  date  trans- 
ferred to  pedestal. 

B:  108.  ey&xsji. 

Front,  to  Warburton's  edition  of  Works,  1747; 
and  used  also  in  Johnson's  edition,  1765,  and  in 
Johnson  &  Steevens's,  1773. 

138  [John  Simon]  Mezzotint. 

Bust,  to  right.  Below:  William  Shakespeare 
ObK  Anno  Dom.  1616.  Aetat  53.  Oval,  in 
rectangular  plate  with  portraits  of  Chaucer, 
Spenser  and  Jonson. 

C.  S:  55.    I3>^x  10. 

One  of  a  set  of  six  plates.  Poets  and  Philoso- 
phers of  England. 

139  Engraved  by  T.  Priscott  from  Vertue. 

Stipple. 

Bust,  to  right;  rectangle.    William  Shakespeare. 

4^X3^. 

Pub.  by  C.  Dyer. 

140  Anonymous.  Stipple. 

Copy  of  preceding.  Shakspeare.  Engraved  for 
the  Select  Portrait  Gallery  .  .  . 

4^x4. 

141  Same  Plate.    With  publication  line  erased. 

61 


WILLIAM  SHAKESPEARE 

142  Same  Plate.    Proof  before  all  letters. 

143  Ridley  sculp.  Stipple. 

Bust,  to  left;  oval.    Vertue  type.    Shakespeare. 

8:76.    35^X2^. 

Pub.  by  Vernor  &  Hood,  i8cx);  front,  to  Plays. 

144  Same  Plate.    Without  publisher's  name. 

145  Engraved  by  Holl.  Stipple. 

Copy  of  preceding.    Shakespeare. 

3^X2^. 

Pub.  by  Vernor,  Hood  &  Sharpe. 

146  T.  Balzer  Sc.  Stipple. 

Bust,  to  left;  suspended  oval  frame  on  pedestal 
in  rectangle.    Shakespeare. 

147  E.  Verelst  fecit.  Line. 

Similar  print. 

B:  no.    4^X2^^. 

148  Schellenberg  fec.  Line. 

Bust,  to  right;  oval  ornamented  frame  in  rect- 
angle; no  title. 

5^x3. 

149  Engraved  by  S.  Freeman.  Stipple. 

Bust,  to  right ;  vignette.    Vertue  type.    William 
Shakespeare. 

4x3^. 

Pub.  by  Archibald  Fullarton  &  Co.,  Glasgow^. 
62 


ENGRAVED  PORTRAITS 

150  Same  Plate;  with  publisher's  inscription  changed 

to  A.  Fullarton  &  Co. 

151  G.  Greatbach.  Stipple. 

Bust,  to  right;  vignette,  with  scenes  in  his  plays 
after  T.  D.  Scott. 

B:  109.    8>4x6^. 

Pub.  by  John  Tallis  &  Co.,  London;  front,  to 
Comedies. 

152  Same  Plate.    With  imprint  of  The  London  Print- 

ing and  Publishing  Company. 

153  Per  N.  Bettoni. — F.  Zuliani.  Line. 

Bust,  to  right;  rectangle.    Shakespeare. 

4/4x2^- 

154  Vernier  del. — Lemaitre  direxit  Line, 

Bust,  to  right;  vignette.  Above:  Angleterre 
{Tudor s) ;  below:  Schakspeare. 

155  Vertue  Sculp.  Line. 

Bust,  to  left;  in  oval  frame  surrounded  by  six 
other  portraits;  rectangle.     fV:  Shakespear. 

Front,  to  The  Poetical  Register,  1723.  It  fol- 
lows Arlaud's  version  of  the  Chandos  portrait, 
with  cloak  added. 

156  B.  ArLAUD  del. — G.  DUCHANGE  SCUL.  Line. 

Bust,  to  right;  oval  frame  on  pedestal  in  rect- 
angle.   Mr:  Wm.  Shakespear  .  .  . 

B:  114.    7x4!/^. 

63 


WILLIAM  SHAKESPEARE 

Front,  to  Theobald's  edition  of  Works,  1733. 
Arlaud's  version  of  the  Chandos  portrait. 

157  LUD  DU  GUERNIER  ScULP  Line. 

Bust,  to  left;  small  oval,  after  Arlaud,  in  plate 
copied  from  that  of  M.  Van  der  Gucht  (No. 
135)  with  allegorical  figures;  rectangle.  Mr. 
William  Shakespear,  Ob.  A.D.  1616  JEt.  S3- 

158  LUD.  Du  GUERNIER  ScULP.  Line. 

Similar  portrait  in  larger  oval,  in  rectangle. 
M^  W"^.  Shakespear  .  .  . 

5^X33^. 

159  N.  Parr  Sculp  Line. 

Bust,  to  right;  oval  medallion  frame.  Arlaud 
type.    W.  Shakespear. 

From  Whincop's  Scanderbeg,  1747. 

160  Anonymous.  Line. 

Similar  oval,  to  right ;  in  symbolic  frame. 
i>^xi^. 

161  Anonymous.  Line. 

Similar  print,  reversed. 

1^X2^- 

162  G.  Vander  Gu.cht  Sculpt.  Stipple. 

Bust,  to  right;  oval  on  pedestal  in  rectangle; 
engraver's  name  on  pedestal.    Shakespeare. 

64 


ENGRAVED  PORTRAITS 

PL  to  Theobald's  second  edition  of  Works, 
1740;  G.  Van  der  Gucht's  version  of  the  Chan- 
dos  portrait,  similar  to  Vertue's. 

163  G,  Vander  Gucht  Sc.  Stipple. 

Similar  print,  with  engraver's  name  below 
pedestal.    Shakespeare. 

5^X3- 

164  Beaumont  Sculp.  Line. 

Reversed  copy  of  No.  162. 

5^X3- 

165  H.  Gravelot  Sculps.  Line. 

Bust,  to  right;  draped,  oval  frame  above  pedes- 
tal, with  lyre  and  other  emblems,  in  rectangle. 
On  frame :  tVill^.  Shakespear. 

9^x6. 

Front,  to  Hanmer's  edition  of  Works,  1744. 

166  J.  HouBRAKEN  SCULPS.  Amst.  1747-  Line. 

Bust,  to  right;  in  oval  frame  with  symbolic 
decorations  in  rectangle.  On  ribbon:  William 
Shakespear.  Below:  In  the  Possession  of  John 
Nicoll  of  Southgate  Esq^  .  .  . 

B:8o.     1454x8%. 

Pub.  by  J.  &  P.  Knapton;  pi.  to  Birch's  Heads. 
Houbraken's  version  of  the  Chandos  Portrait. 

167  Same  Plate.    Impression  on  large  paper. 

168  T.  Cook  sculp  Line. 

65 


WILLIAM  SHAKESPEARE 

Reduced  copy  of  No.  i66,  reversed;  rectangular 
frame.    Shakespeare. 

B:  8i.    6x4^. 

Pub.  by  G.  Kearsly,  1776. 

169  Same  Plate.    With  publication  line  erased. 

170  Anonymous.  Line. 

Another  copy  of  No.  166.  William  Shakespear. 
Printed  for  J.  Hinton  .  .  . 

B:82.    6>^X4. 

PI.  to  the  Universal  Magazine. 

IT  I  Anonymous.  Line. 

Similar  print,  without  emblems  below  oval. 
William  Shakespeare. 

172  Anonymous.  Line. 

Bust,  to  right;  in  oval  frame,  on  which  is  Wil- 
liam Shakespear;  rectangle.     Houbraken  type. 

6^X4>^. 

PI.  to  the  London  Magazine,  1752. 

173  Engraved  by  J.  Hall  1772  Line. 

Bust,  to  right;  ornamented  oval  frame  in  rect- 
angle, over  tablet  with  title.  Wm.  Shakespear 
at  the  Age  of  40  .  .  .  Houbraken  type. 

5x3. 

Pub.    1773;   front,   to   Bell's   edition   of  Plays, 

1774. 

174  Same  Plate.    Impression  on  large  paper. 

66 


ENGRAVED  PORTRAITS 

175  Engraved  by  Hall  1773.  Line. 

Similar  print,  reversed. 

5x3- 

Pub.  by  J.  Bell. 

176  Anonymous.  Line. 

Similar  print.    On  pedestal:  Will^:  Shakespear. 
B:  100.    4^X2j^. 

177  GOLDAR  ScuLpT  Line. 

Bust,  to  left;  oval  in  rectangle.    William  Shake- 
spear.   In  the  Possession  of  John  Nicoll  Esq^. 

7Mx6>^. 

PI.  to  Harrison's  Edition  of  Rapin,  1785. 

178  Same  Plate.    Added:  Published  by  Cornish  ^  Co. 

1813. 
Cut  close. 

179  From  Houbrakbn. — Audinet  sC  Line. 

Bust,  to  right;  oval  at  top  of  page,  with  bio- 
graphical sketch  below. 

B:83.    i^xi>4. 

Pub.  by  Harrison  &  Co.,  1794. 

180  Same  Plate,  extended  by  horizontal  lines  to  oc- 

tagonal frame.    Proof  without  the  text  or  pub- 
lisher's line. 

2^x2. 

181  Anonymous.  Line. 

Reversed  copy  of  No.  179.    Shakespear. 
iHxiy2. 

67 


WILLIAM   SHAKESPEARE 

182  HoLL  SCULP.  Stipple. 

Bust,  to  left;  oval  at  top  of  page,  with  biograph- 
ical sketch  below. 

2X  I^. 

182  a  I  A.  Miller  sc.  Stipple. 

Bust,  to  left;  in  oval  frame,  supported  by  sym- 
bolical ornaments. 

2x3. 

On  p.  74  of  Capell's  edition,  vol.  I,  [1767]. 

183  Engraved  by  B.  Holl  from  the  print  by  Hou- 

BR.\KEN.  Stipple. 

Bust,  to  left;  oval  in  rectangle  with  facsimile  of 
autograph. 

B:84.    3^x3^. 
Pub.  by  George  Virtue. 

184  Same  Plate.    Without  publisher's  name. 

185  Engraved  by  John  Hall  from  an  Original 

Picture  in  the  Possession  of  his  Grace  the 
Duke  of  Chandos.  Line. 

Bust,  to  left;  oval  frame  in  rectangle  with 
laurel  garlands.  Dress  derived  from  Droeshout 
print.  On  pedestal:  William  Shakspeare  Died 
April  23<^.  16 16  .  .  . 

B:75.    7x43^. 

Pub.  by  J.  Rivington  &  Partners,  1785;  pi.  to 

Steevens's  edition  of  Works,  1785. 

186  Same  Plate.    Unfinished  proof. 

68 


ENGRAVED  PORTRAITS 

187  Anonymous.  Line. 

Bust,  to  left;  oval  frame  with  garlands,  on  plate 
with  portrait  of  Alexander  Pope.  Wm.  Shake- 
speare, Esq''.  .  .  . 

Size  of  plate,  4>4  x  7^. 

Pub.  by  Alexander  Hogg,  1785;  pi.  to  the  New 
London  Magazine. 

188  Painted  by  Taylor  or  Burbage  .  .  .  and  En- 

graved BY  Cook  by  special  permission  .  .  . 

Line. 

Bust,  to  left;  oval,  resting  on  manuscript  and 
emblems,  in  rectangle.  On  oval  frame:  William 
Shakspere.  There  are  no  trimmings  nor  buttons 
on  the  coat ;  collar  with  tassels. 

Front,  to  Prolegomena,  Bell,  1788. 

189  H.  Lips  Sculp.  Line. 

Copy  of  preceding,  with  pedestal  instead  of  the 
decorations  below  oval.  On  pedestal:  William 
Shakspere. 

5^X2^. 

190  Anonymous.  Stipple. 

Bust,  to  left;  vignette.  Costume  borrowed  from 
No.  188.  W.  Shakspeare  geb.  im  A  prill 
1565  '  -  . 

4^x3^. 

191  Heinr:  Schmidt  Sc:  Stipple. 

Similar  print;  oval.    W.  Shakspeare. 

3}iX2}i. 

69 


WILLIAM   SHAKESPEARE 

192  Engraved  by  C.  Knight  .  .  .  Stipple. 

Bust,  to  left;  oval  on  tablet  with  vignette  and 
emblems  in  panels;  rectangle.  William  Shak- 
speare.    Born  April  23,  1564  .  .  . 

B:85.    53^x3^. 

Pub.  by  J.  Rivington  &  Partners,  1786;  front,  to 
Malone's  edition  of  Plays  and  Poems,  1790. 
Ozias  Humphry's  version  of  the  Chandos  Por- 
trait. 

193  Engraved  by  H.  Brocas  .  .  .  Stipple. 

Copy  of  preceding. 
B:86.    5^x314. 
Pub.  by  William  Jones. 

194  Engraved  by  E.  Scriven.  Stipple. 

Bust,  to  left;  vignette.  From  Mr.  Ozias  Hum- 
phry's Drawing  of  the  Chandos  Picture  made 
for  the  late  Mr.  Malone  in  the  Year  1783  .  .  . 

4x4. 

Pub.  by  Saunders  &  Ottley,  1825. 

195  Same  Plate.    With  publication  line  erased. 

196  C.  A.  Schwerdgeburth  sculps.  Stipple. 

Bust,  to  left;  oval  in  rectangular  outline  frame. 
Shakspeare.    From  the  Chandos  Picture  .  .  . 

Pub.  by  Ernest  Fleischer,  Leipsic 

197  C.  Jansen.— R.  Bell.  Line. 

Bust,  to  left;  vignette  with  facsimile  of  auto- 
graph. 
254x2^. 

70 


ENGRAVED  PORTRAITS 

198  Barlow  Scul.  Line. 

Bust,  to  right,  in  outline;  rectangle.  Shakespear. 
From  Lavater. 

199  Anonymous.  Line. 

Similar  bust;  on  plate  with  portraits  of  L. 
Sterne  and  S.  Clarke.    Shakespear. 

Size  of  portrait,  3^  x  2^. 

On  page  218  of  Lavater's  Essays  on  Physiog- 
nomy, 1789. 

200  Anonymous.  Line. 

Copy  of  preceding,  unlettered. 
'  Size  of  portrait,  2^2  x  2^. 
PL  to  Lavater's  Essays  on  Physiognomy,  i8o6. 

201  Anonymous.  Line. 

Similar  head,  on  plate  with  three  other  por- 
traits. 

Size  of  portrait,  2%  x  2. 

202  Anonymous.  Line. 

Similar  head,  on  plate  with  four  other  por- 
traits; rectangle.    Above:  Tom  2 — Tav.  E 

Size  of  plate,  5  x  3j^. 

203  S.  Harding  delin. — Le  Goux  Sculp.       Stipple. 

Bust,  to  left;  rectangle,  with  view  of  Globe 
Theatre  below.  Shakspeare  From  an  original 
Picture  ... 

B:  87.    Size  of  rectangle,  4.}i^3}^. 

Front,    to    Harding's    Shakespeare    illustrated, 

1793- 

71 


WILLIAM   SHAKESPEARE 

204  Eddy.  Stipple. 

Bust,  to  right;  oval  surmounted  by  three  masks 
in  laurel  wreath.  On  ribbon:  William  Shak- 
speare. 

205  Same  Plate.    Impression  on  large  paper. 

206  Fr.  Bolt  fec.  1817.  Stipple. 

Bust,  to  right;  oval.  fV*".  Shakespeare. 
Zwickau  b.  den  Geb.  Schumann  1817 

207  Same  Plate  with  oval  extended  to  octagon;  en- 

graver's line  altered. 

208  Heath  del.  Stipple. 

Bust,  to  left;  vignette,  vdth  Shakspeare  on  tab- 
let and  figures  of  Victory,  Comedy  and  Trag- 
edy. 

7x5. 

Pub.  by  Jones  &  Co.,  1822. 

209  London:  J.  &  F.  Harwood,  26  Fenchurch  St. 

Stipple. 

Bust,  to  left;  in  circular  frame  formed  by  ser- 
pent with  books  and  symbols  below.  Shake- 
speare. 

3Mx2>^- 

210  Fry  scuLpT.  Stipple. 

Bust,  to  left;  rectangle.  William  Shakspeare. 
From  the  Chandos  Portrait  .  .  . 

8:72.  ^HxsH- 


ENGRAVED  PORTRAITS 

Pub.  by  Rivi'ngton  &  Partners,  1822;  front,  to 
Works. 

211  Dean  sculp^  Stipple. 

Bust,  to  left;  rectangle.    William  Shakspeare 

3^X2^. 

Pub.  by  Rivington  &  Partners,  1823. 

212  Anonymous.  Stipple. 

Bust,   to   left;    rectangular   frame  with   lions' 
heads  in  corners.    Shakespeare. 

3^X2^- 

Pub.  by  George  Smeeton,  1824. 

213  Same  Plate.    With  publication  line  erased. 

214  Anonymous.  Stipple. 

Bust,  to  left;  octagon.    Shakspere. 

215  Anonymous.  Stipple. 

Bust,  to  left;  oval,  with  background  ruled  to 
rectangle.     Shakspeare. 

5^x4^. 

216  Engraved  by  Hollis  from  the  Chandos  Por- 

trait. Stipple. 

Bust,  to  left;  oval  surrounded  by  vignette  por- 
traits of  actors  and  actresses. 

B:79.    9^x63^. 

Pub.  by  John  Tallis  &  Company. 

73 


WILLIAM   SHAKESPEARE 

217  RoFFE  Sc,  Stipple. 

Bust,  to  left;  rectangle.     William  Shakspeare. 
From  an  Original  Painting. 

21 8  Engraved  by  E.  Scriven  .  .  .  Stipple. 

Similar  print.    Shakspere. 

5^x4. 

Pub.  by  William  Mackenzie,  Glasgow. 

219  J.  Cochran.  Stipple. 

Similar  print.    Shakspeare.    From  the  Chandos 
Picture. 

5x3^^- 

Pub.  by  Scott,  Webster  &  Geary. 

220  Same  Plate.    Reworked. 

221  Same  Plate.    With  publication  line  erased. 

222  Engraved  by  Freeman.  Stipple. 

Similar  print,  to  right.    Shakspeare. 

3^X2^. 

PI.  to  Valpy's  edition  of  Plays  and  Poems,  Vol. 
I,  1832. 

223  B.  Arlaud  PiNX. — Jos.  Selb  del.  Stipple. 

Bust,  to  left;  oval.    William  Shakespeare. 
8x6^. 

Tinted.    It  does  not  follow  the  Arlaud  type. 
74 


engraved  portraits 

224  Engraved  on  Steel  by  Tho».  Clerk  Edin» 

Stipple. 

Bust,  to  left ;  oval  in  rectangle  with  outline  bor- 
der, and  facsimile  of  autograph. 

7^X4^4- 

225  A.  WivELL  delt.— I  Cochran  sculp^.      Stipple. 

Bust,  to  left;  oval  in  rectangle.  Shakspeare  In 
the  collection  of  the  Duke  of  Buckingham. 

534  X4>^. 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry. 

226  Same  Plate.    Proof  on  India  paper,  before  all  let- 

ters. 

B:66. 

227  Drawn  by  A.  Wivell,  Engraved  by  W.  Holl. 

Stipple. 

Bust,  to  left;  rectangle  in  irregular  symbolic 
frame  with  facsimile  of  autograph.  tVilliam 
Shakespeare. 

63^x4^4. 

Pub,  by  Thomas  Kelly,  1831. 

228  Same  Plate.     Proof  on  India  paper  without  the 

symbolic  frame. 

3>^X2^. 

229  Same    Plate.      Printed    on    India   paper   without 

frame  and  publisher's  inscription. 

230  Holl.  sculpsit.  Stipple. 

Bust,  to  left;  oval  in  rectangle.  Shakspeare  .  .  . 
5^x4. 

75 


WILLIAM   SHAKESPEARE 

231  Same  Plate.  Proof  on  large  paper,  before  the  plate 

was  cut.  Pub.  by  Hilliard,  Gray  &  Co.,  Boston. 

232  Same  Plate.    Proof  on  India  paper,  before  all  let- 

ters. 

233  Engraved  by  E.  Scriven.  Stipple. 

Similar  print.  Shakspeare.  From  the  Picture 
in  the  Possession  of  His  Grace  the  Duke  of 
Buckingham,  at  Stowe  .  .  . 

B :  92.    5x4. 

Pub.  by  Charles  Knight,  1835;  pi.  to  his  Gallery 
of  Portraits. 

234  Same  Plate.     Proof  on  India  paper  with  engrav- 

er's name  and  inscription  lightly  etched,  and 
date  1835. 

235  Anonymous.  Stipple. 

Similar  print,  with  facsimile  of  autograph.  The 
London  Printing  and  Publishing  Company  .  .  . 

236  C.  F.  Erminger  sculp.  Line. 

Similar  print.    Shakspeare. 

237  McCarty  sculpsit.  Line. 

Similar  print.    Shakspeare. 

4^X3>^- 

76 


ENGRAVED  PORTRAITS 

238  Anonymous.  Stipple. 

Similar  print.  Shakspeare.  {From  the  Chan- 
dos  Picture) 

5X3H' 

239  Anonymous.  Stipple. 

Similar  print.  From  the  Chandos  Portrait. 
William  Shakespeare. 

4x33^. 

240  Engraved  by — H.  Robinson.  Stipple. 

Similar  print,  with  figured  doublet,  and  coat  of 
arms.  William  Shakspeare.  From  an  early 
Copy  of  the  Chandos  Picture  formerly  in  the 
possession  of  Woodward  the  Comedian  .  .  . 

sHxsH- 

Pub.  by  Edward  Moxon,  1838. 

241  Engraved  by  R.  A.  Artlett,  from  the  Chan- 

dos Portrait.  Stipple. 

Bust,  to  left;  oval  in  rectangle.    Shakspere. 
8^x7- 

242  Same  Plate.    Proof  on  India  paper  before  letters. 

243  Engraved  by  Rob^.  Cooper.  Stipple. 

Similar  print. 

B:68.    7^x6^. 

Private  plate.    Proof  on  India  paper. 

244  Samuel  Cousins,  A.R.A.  Mezzotint. 

Bust,  to  left ;  oval  in  rectangle.    William  Shaken 
77 


WILLIAM   SHAKESPEARE 

speare.  .  .  .  Engraved  for  the  Shakespeare  So- 
ciety, June  1849. 

B :  69.    10  X  8. 

245  Same  Plate.    Proof  on  India  paper  before  all  let- 

ters. 

246  Anonymous,  Stipple. 

Bust,  to  left,  on  plate  with  portraits  of  Queen 
Elizabeth,  Raleigh,  Camden,  Bacon  and  B.  Jon- 
son;  vignette.    Shakspere. 

Size  of  portrait,  2^^  x  2^. 

247  Anonymous.  Stipple. 

Bust,  to  left;  background  horizontally  ruled; 
rectangle  with  facsimile  of  autograph. 

3>4X2^. 

248  Same  Plate.    Impression  on  India  paper. 

249  Anonymous.  Stipple. 

Bust,  to  left;  vignette  with  facsimile  of  auto- 
graph.   From  the  Chandos  Picture. 

2^x2^. 

250  Anonymous.  Etching. 

Bust,  to  left;  vignette  with  facsimile  of  auto- 
graph. 

3x3^- 

251  Anonymous.  Stipple. 

Bust,  to  left ;  vignette.  Shakspeare.  Publie  par 
Fume,  Paris  .  .  . 

3^X35^. 

78 


ENGRAVED  PORTRAITS 

252  Albert-Duvivier  Etching. 

Bust,  to  right;  rectangle.    .W.  Shakespeare. 

253  Leopold  Flameng  sculp.  Etching. 

Bust,  to  left;  oval  in  rectangle,  with  facsimile 
of  autograph.     "He  was  not  for  an  age  .  .  ." 

22  X  161/2. 

Signed  proof,  with  inscription  lightly  etched  and 
remarque  portraits  of  David  Garrick  and  Edwin 
Booth. 


The  following  prints  seem  to  be  based  on  the 
Chandos  type,  but  present  many  variations  from 
the  original. 

254  Anonymous.  Line. 

Bust,  to  right,  circular,  on  plate  with  portraits 
of  Sir  Francis  Drake,  Lord  Burleigh,  Sir  Wal- 
ter Raleigh,  Lord  Bacon  and  the  Earl  of 
Clarendon.    Shakespeare. 

Size  of  portrait,  l^  x  i^. 

255  Anonymous.  Stipple. 

Bust,  to  left,  vignette;  on  plate  with  portraits 
of  Jonathan  Swift,  William  Pitt,  Isaac  Watts 
and  John  Wesley.    William  Shakespeare. 

Size  of  portrait,  2^^  x  2^. 

Pub.  by  J.  &  J.  Cundee. 

256  Anonymous.  Line. 

Bust,  to  left,  on  plate  with  19  others.  Cotton, 
79 


WILLIAM   SHAKESPEARE 

Burns,  etc.;  vignette.  Shakspeare.  Above: 
Plate  30  Poets  &'  Dramatic  Writers. 

Size  of  portrait,  i^  x  i^. 

257  Same  Plate.    Proof  on  India  paper  before  all  let- 

ters. 

258  DE  St  Ours  del. — Moitte  Sculp.  Line. 

Half-length,  to  left;  in  oval  supported  on  ped- 
estal by  female  figure ;  in  temple. 

259  W.  HOLL.  Stipple. 

Three-quarters  length,  to  right;  rectangle,  with 
facsimile  of  autograph.    William  Shakspeare. 

53^x4- 

Pub.  by  A.  Fullarton  &  Co. 

260  Drawn  on  Stone  by  J.  Penn. — J.  H.  Parker, 

Lith:  Liverpool.  Lithograph. 

Three-quarters  length,  to  left;  vignette  with 
facsimile  of  autograph.  Dedicated  by  special 
permission  to  his  Worshipful  The  Mayor  of 
Liverpool  .  .  . 

8^x8. 

Pub.  by  Trumble  &  Co. 

261  Anonymous.  Stipple. 

Half-length,  to  left;  rectangle.  Published  by 
T.  H.  Ellis.    Shakspere. 

I3j4x95^- 

262  Same  Plate.    Proof  before  all  letters. 

80 


ENGRAVED  PORTRAITS 

263  M.  Steinla  fec:  Line. 

Half-length,  to  left,  with  wide  fur  collar  and 
earring;  rectangle  framed  in  outline.  William 
Shakspeare. 

4^X3^- 

263a  Same  Plate.     Proof  before  letters  and  outline 
frame. 

3^X2^. 

264  LOCATELLI  DIS  GeNIANI  INC. — PER  DaLLA  LiBERA 

—  Po,  AnDERLONI  DIRESSE.  Line. 

Bust,  to  left;  rectangle.  Collar  trimmed  with 
lace  and  tassels.    Shakespear. 

7x5. 

264a  Same  Plate.    Proof  before  all  letters. 

264b  T.  Starling  sculpsit.  Stipple. 

Bust,  to  left;  rectangle.    Shakspeare. 

3X2>^. 

PI.  to  Valpy's  edition  of  Plays  and  Poems,  Vol. 
XV,  1834. 

AMERICAN  PORTRAITS  OF  THE 
CHANDOS  TYPE 

So  many  of  the  portraits  of  Shakespeare  en- 
graved in  America  are  of  this  class  that  it  has 
seemed  interesting  to  separate  them  from  the 
main  group.  No  such  separation  has  been  made 
in  the  other  divisions. 

81 


WILLIAM   SHAKESPEARE 

265  Engraved  by  R.  Field,  from  the  Original  Pic- 

ture IN  THE  Collection  of  the  Duke  of 
Chandos.  Stipple. 

Bust,  to  left;  oval  in  rectangle;  under  oval,  an 
urn  and  two  cherubs  as  Comedy  and  Tragedy. 
On  base  of  urn:  William  Shakespeare.  Born 
April  23,  1564  .  .  . 

Stauffer:  1002.    5M^3/^' 

Front,  to  the  First  American  Edition  of  Shake- 
speare's Plays  and  Poems j  Philadelphia,  1795. 
(See  book.) 

266  Anonymous.  Line. 

Bust,  to  right;  oval. 

iy2Xi}i. 

Pub.  by  Munroe  &  Francis;  on  title-page  of 
Dramatic  Works,  Boston,  1803. 

267  Same  Plate.     On  title-page  of  Dramatic  Works, 

1807. 

268  Anonymous.  Line. 

Bust,  to  left;  oval. 

ix^. 

On  label  of  J.  Riddle's  Circulating  Library, 
Philadelphia. 

269  D.  Edwin  sc.  Stipple. 

Bust,  to  right ;  oval.    W.  Shakspeare. 

Fielding:  176.    4x3^. 

Pub.  by  Munroe  &  Francis;  pi.  to  Works,  1810. 

270  Same  Plate.    With  imprint  of  C.  S.  Francis  &  Co. 

82 


ENGRAVED  PORTRAITS 

271  [Alexander  Anderson]  Woodcut. 

Bust,  to  right;  oval  in  rectangular  frame. 
Wm.  Shakspeare.  Born  Apr.  23.  1564.  Died 
Apr.  23.  1616.     [4  lines  of  verse.] 

An  interesting  specimen  of  early  American  wood- 
engraving. 

272  GiMBREDE  Sc.  N.  Y.  Stipple. 

Bust,  to  right;  oval,  with  William  Shakspeare 
on  ribbon,  and  symbols. 

Stauffer:  1091.    6x3j/^. 

American  copy  of  No.  204. 

273  Heath  del. — Maria  A.  Maverick  sculp. 

Stipple. 

Bust,  to  left;  vignette,  with  Shakspeare  on  tab- 
let, and  figures  of  Victory,  Comedy  and  Trag- 
edy. 

Staufler:  2180.    7x5. 

American  copy  of  No.  208. 

274  Design'd  by  Harvey.— Eng'd  by  Prudhomme. 

Line. 

Bust,  to  left;  rectangle,  portrait  on  monument 
with  dramatic  scenes.    Above:  Shakspeare. 

Stauffer:  2609.    6^4x3^. 

Pub.  by  Solomon  King,  New  York,  1831. 
Schoyer,  printer. 

275  Same  Plate.     Proof  on  India  paper  without  name 

of  printer.  On  sheet  with  title-page  of  Dra- 
matic Works,  1 83 1. 

83 


WILLIAM   SHAKESPEARE 

276  W.  Harvey. — A  Dick.  Line. 

Copy  of  preceding. 

6y2X3y2. 

Pub.  by  G.  Dearborn,  New  York. 

277  Same  Plate.    Proof  on  India  paper. 

278  Same  Plate.    With  imprint  of  Harper  &  Brothers. 

279  Drawn  from  the  Chandos  Portrait  in  the 

POSSESSION  OF  THE  MaRQUI§  OF  BUCKINGHAM. 

— T.  Kelly  Sc.  Stipple. 

Bust,  to  left;  rectangle.     William  Shakspeare. 
Stauffer:  1624.    4^2  xsH' 
Pub.  by  Samuel  Walker,  Boston. 

280  Engraved  by  Wm.  D.  Smith  N.  Y.  Line. 

Bust,  to  right;  oval,  with  portraits  of  Garrick, 
Macklin,  Kemble  and  Cooke.    Shakspeare. 

7x4. 

281  Drawn  by  W.  Momberger. — Engraved  by  J.  C. 

Buttre.  Stipple. 

Bust,  to  left;  oval,  with  scenes  from  his  plays. 

io>^x6^. 

Copyright  1859. 

282  Same  Plate.    Copyright  1879. 

283  H.  Wright  Smith  Phil*  Stipple. 

Bust,  to  left ;  vignette. 

3>^X3M. 
Cut  close. 

84 


ENGRAVED  PORTRAITS 

284  Eng».  by  Geo.  E.  Ferine.  Stipple. 

Similar  print.     Shaispere.     From  the  Chandos 
Picture. 

285  Same  Plate.    Proof  before  letters. 

286  Illman  &  Sons.  Stipple. 

Bust,  to  left ;  rectangle.    Shakspeare.  With  fac- 
simile of  autograph. 

4^x3^. 

287  Eng°  by  E.  G,  Williams  Stipple. 

Bust,  to  left;  vignette.    Shakespeare.    Engraved 
expressly  for  Demorest's  Monthly  Magazine. 

Printed  by  Kimmel  &  Voigt,  N.  Y. 

288  Houbraken— J.  C.  BuTTRE.  Line. 

Bust,  to  left;  vignette,  with  facsimile  of  auto- 
graph.   Shakespeare. 

5^x5. 

289  Engo  by  H.  B.  Hall  &  Sons  N.  Y.  Stipple. 

Bust,  to  left;  vignette,  with  facsimile  of  auto- 
graph. 

sHxsM- 

Pub.  by  Dodd,  Mead  &  Company,  New  York. 

290  Same  Plate.     Without  engravers'  and  publishers' 

names. 

291  H.  B.  Hall,  1867.  Line. 

85 


WILLIAM   SHAKESPEARE 

Bust,   to   left;   vignette.     Engraved  for   Wyn- 
koop's  Handy  Volume  Skakspeare. 

American  copy  of  No.  194. 

292  Same  Plate.    Proof  on  India  paper. 

293  Same  Plate.     Proof  on  India  paper  before  pub- 

lisher's name. 

294  Same  Plate.    Proof  on  India  paper  before  all  let- 

ters. 

295  J.  Sartain.  Mezzotint. 

Bust,  to  left;  rectangle.    Shakspeare. 

Pub.  by  Gould,  Kendall  and  Lincoln,  Boston. 

296  W  H  W  BicKNELL  sc  Etching. 

Bust,  to  left;  oval  in  rectangle. 

Proof  on  Japan  paper. 


THE  JANSSEN,  OR  SOMERSET, 
PORTRAIT 

The  most  beautiful  of  the  so-called  portraits  of 
the  poet  is  that  which  was  first  claimed  to  be 
such  when  in  the  possession  of  Charles  Jennens, 
and  was  reproduced  by  Earlom  in  mezzotint 
for  Jennens's  edition  of  King  Lear,  1770.  The 
head  in  the  picture  is  finely  modelled;  the 
broad,  wired  collar  is  of  lace,  and  the  doublet, 
86 


ENGRAVED  PORTRAITS 

of  figured  silk.  It  bears  the  inscription  "Ae*  46 
1 610."  Though  it  has  by  no  means  been  proved 
to  represent  Shakespeare,  it  is  quite  likely  that 
it  is  the  work  of  Janssen,  who  painted  a  portrait 
of  Milton  in  161 8.  There  is  a  legend  that  it 
once  belonged  to  Prince  Rupert.  It  has  been 
the  property  successively  of  the  Dukes  of  Ham- 
ilton and  Somerset,  the  twelfth  Duke  of  Somer- 
set leaving  it  to  his  daughter,  Lady  Guendolen 
Ramsdem,  whose  son.  Sir  John  Frecheville 
Ramsdem,  now  owns  the  picture. 

Several  good  copies  of  the  portrait  exist;  it 
has  been  often  engraved,  and  is  the  theme  of  a 
series  of  articles  by  Mr.  M.  H.  Spielmann  in 
The  Connoisseur,  1909— 1912. 

297  R.  Earlom  fecit  Mezzotint. 

Bust,  to  left;  rectangle,  with  U  T.  MAGUS  on 
scroll  above  head,  and  age  and  date  at  upper 
left  corner  of  print.  William  Shakespear.  From 
an  Original  Picture  by  Cornelius  Jansen  in  the 
Collection  of  C.  Jennens  Esq''. 

C.  8:39.    B:  119.    554x43^. 

Front,  to  Jennens's  edition  of  King  Lear,  1 770. 

298  R.  Cooper,  sculp^. — From  a  Print  by  Earlom 

.  .  .  Mezzotint, 

Similar  print,  with  facsimile  of  autograph. 

B:  120.    5/^X4>^- 

Pub.  by  Sherwood  Jones,  1825;  front,  to  Works. 

299  Same  Plate,    With  publication  line  erased. 

87 


WILLIAM   SHAKESPEARE 

300  J.  R.  JOBBINS,  DEL^.  Stipple. 

Similar  print.  Shakespeare.  From  Earlom's 
Engraved  Likeness  .  .  . 

5^4x4. 

301  [Charles  Turner.]  Mezzotint. 

Proof  before  all  letters,  and  lettering  in  back- 
ground, of  the  Charles  Turner  mezzotint:  pub- 
lished by  Robt.  Triphook,  1824. 

302  R.  DUNKARTON  SCULP'".  Mezzotint. 

Bust,  to  left;  in  rectangle  with  age  and  date  at 
left  upper  corner  of  print.  William  Shakspeare, 
From  an  original  Picture  formerly  in  the  pos- 
session of  Prince  Rupert  .  .  . 

C.  S:237-    B:  118.    4^X3>4. 
Pub.  by  S.  Woodburn,  181 1;  pi.  to  his  Charac- 
ters illustrious  in  British  History. 

303  R.  Cooper,  sc.  Stipple. 

Bust,  to  left;  rectangle.  Based  on  preceding 
print.     Wm.  Shakespeare. 

PI.  to  Bumpus's  edition  of  Works,  1825. 

304  J.  Pass  sc.  Stipple. 

Bust,  to  left;  oval.  Shakspeare.  Engraved  for 
the  Encyclopaedia  Londinensis,  1827. 

4>^X3H. 

305  Same  Plate.    Printed  in  colors. 

88 


ENGRAVED  PORTRAITS 

306  H.  Robinson,  sculp.  Stipple. 

Bust,  to  left;  rectangle,  with  facsimile  of  auto- 
graph. 

Pub.  by  Fisher,  Son  &  Co.,  1835. 

307  Same  Plate.     With  artist's  name  in  center,  and 

date  changed  to  1836. 

308  Same  Plate.    With  date  changed  to  1839. 

309  T.  Wright  Sculp^,  Stipple. 

Bust,  to  left;  rectangle,  with  age  and  date  in 
left  upper  corner  of  plate.  Shakspeare,  In  the 
collection  of  the  Duke  of  Somerset. 

Pub.  by  A.  Wivell;  pi.  to  his  Inquiry,  1827. 

310  Same  Plate.    Proof  on  India  paper. 

311  Same  Plate.     Proof  on  India  paper  before  all  let- 

ters. 

B:  127. 

312  Engraved  by  Page  .  .  .  Stipple. 

Similar  plate,  reduced.    Shakspeare  .  .  . 

2^x25^. 

Pub.  by  Duncombe. 

313  Anonvmous.  Line. 

Similar  print,  without  age  and  date.  Will. 
Shakspeare. 

33^X2^- 

Pub.  by  GrifKn  &  Co. 

89 


WILLIAM  SHAKESPEARE 

314  Engraved  on  Steel  by  Hopwood.  Stipple. 

Bust,  to  left;  rectangle  of  triple  lines.  Shak- 
speare. 

PL  to  Dramatic  Works,  1842. 

315  Dessine  et  Grave  d'apres  l'original  par  Caze- 

NAVE.  Line. 

Bust,  to  left;  rectangle.  Based  on  preceding 
print. 

B:  117.   zVAXiyk. 

Proof  on  India  paper. 

316  Engraved  by  G.  Greatbach,  from  the  Somer- 

set Portrait.  Stipple. 

Bust,  to  left,  surrounded  by  characters  from 
his  Plays. 

8M  X  6. 

Pub.  by  John  Tallis  &  Company ;  front,  to  His- 
tories. 

317  Same  Plate.    With  imprint  of  The  London  Print- 

ing and  Publishing  Company. 

318  Same  Plate.    Proof  before  all  letters. 

319  Anonymous.  Stipple. 

Bust,  to  left;  rectangle  in  ornamented  frame, 
with  age  and  date  at  upper  left  corner  of  plate; 
facsimile  of  autograph  on  frame. 

9%  X  ey2. 

320  Engraved  by  Conrade  Cooke.  Line. 

90 


ENGRAVED  PORTRAITS 

Half-length,  to  left;  vignette  with  laurel  gar- 
land.   Shakspeare  .  .  . 

On  title-page  of  Dramatick  Library. 

321  [William  Sartain]  Mezzotint. 

Bust,  to  left;  age  and  date  in  upper  left  cor- 
ner; rectangle.  Above:  Copyright  1902  by  Wil- 
liam Sartain,  N.  York.  Published  by  William 
J.  Campbell.    Philadelphia. 

i4>^x  izyi. 

322  Anonymous.  .  Line. 

Half-length,  to  left;  vignette  on  page  17  of 
L'Album,  Rome,  1834. 

4x3^- 

323  Anonymous.  Stipple. 

Bust,  to  left;  rectangular  background  with  cor- 
ners rounded.  Shakspeare.  Caspar  Y  Roig 
Editores.     Madrid. 

4>^X3>^. 

324  Lacour  Sc. — Dessine  par  Deveria.  Line. 

Bust,  to  left ;  vignette  with  border  of  single  line. 

Illustration  to  Iconographie  instructive. 

325  Same  Plate.     Proof  on  large  paper  without  text. 

326  Same  Plate.     Proof  without  designer's  name. 

91 


WILLIAM  SHAKESPEARE 

327  Same  Plate.    With  ornamented  frame  added. 

5MX3K. 

Pub.  by  Danlos,  Paris. 

328  G  Staal  inv — F".  Delannoy  sc  Stipple. 

Half-length,  to  left,  in  fanciful  frame  decorated 
with  four  female  figures.  Shakespeare.  {Essai 
sur  la  litter ature  anglais e)    Chateaubriand. 

B:  121.    6x4. 

Pub.  by  Abraham  Beillet,  Paris. 

329  Engraved  by  R.  Cooper  .  .  .  from  the  Origi- 

nal IN  THE  Collection  of  John  Wilson 
Croker  .  .  .  Stipple. 

Bust,  to  left;  oval  in  rectangle.    Shakspeare. 

B:  131.    4>^X3^. 

Pub.  by  G.  Smeeton,  1824. 

After  a  copy  of  the  Janssen  portrait. 

330  Same  Plate.    Impression  on  India  paper. 

331  Engraved  by  Gardner.  Stipple. 

Bust,  to  right;  oval.     William  Shakspere. 

3^x3. 

Pub.  by  J.  Good,  1793;  pi.  to  Literary  Maga- 
zine. 

"Nominally  after  the  Janssen  portrait,  but 
really  after  no  conceivable  original." 

332  Same  Plate.    Proof  without  publisher's  inscription. 

92 


ENGRAVED  PORTRAITS 


THE  ZUCCARO,  OR  COSWAY, 
PORTRAIT 

Of  three  portraits  which  have  been,  without  suf- 
ficient reason,  attributed  to  Frederigo  Zuccaro, 
the  one  which  once  belonged  to  Richard  Cos- 
way,  and  is  now  owned  in  America,  is  perhaps 
the  best  known,  and  is  represented  here  by  the 
following  numbers.  Zuccaro  left  England  in 
1580,  when  Shakespeare  was  sixteen  years  old. 
Mr.  Spielmann  calls  the  attribution  of  the  por- 
trait to  him  absurd,  but  it  had  credence  a  hun- 
dred years  ago. 

333  London  Engraved  &  Published  1803,  by  Han". 

Greene  .  .  .  Mezzotint. 

Three-quarters  length,  full  face,  resting  head  on 
hand;  oval  in  rectangle.  fV.  Shakespere  From 
an  original  Picture  by  Zucaro  in  the  Possession 
of  Richard  Cosway  Esq^.  R.A. 

9X7H- 

334  Engraved  by  W.  Holl  from  the  original  pic- 

ture ONCE  THE  PROPERTY  OF  THE  LATE  R.  COS- 

WAY  R.A.  Stipple. 

Copy  of  preceding.     Guglielm  Shakspeare. 

B:  143.    4^X3^- 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry, 
Supplement. 

335  Same  Plate.    Proof  on  India  paper  before  all  let- 

ters. 

93 


WILLIAM  SHAKESPEARE 

336  Anonymous.  Stipple. 

Half-length,  full  face,  resting  head  on  hands; 
vignette. 

THE  SOEST  PORTRAIT 

Gerald  Soest  was  bom  twenty-one  years  after 
Shakespeare's  death,  and  his  portrait,  while  evi- 
dently meant  for  Shakespeare  and  possibly  based 
on  the  Chandos  type,  is  fanciful.  The  portrait, 
with  gentle  but  weak  face,  and  waving  hair  and 
beard,  is  principally  knovv^n  through  Simon's 
mezzotint  (No.  337),  which  brought  it  into 
notice  in  1725.  It  is  variously  known  as  the 
Douglas,  Lister  Kaye,  or  Clarges  Portrait,  ac- 
cording to  its  different  owners. 

337  ZousT  PiNX. — I.  Simon  Sc.  et  ex.       Mezzotint. 

Half-length,  to  right,  oval  in  rectangle.  Shake- 
speare Ob:  A.D.  j6j6.  Mtat:  53.  Done  from 
a  Capital  Picture  in  the  Collection  of  T.  Wright 
Painter  in  Covent  Garden. 

C.S:  133.    B:  132.     11^^x9%. 

First  state  of  the  plate. 

338  Engraved  by  W.  Holl  from  the  print  by  J. 

Simon.  Stipple. 

Copy  of  preceding. 

B:  133.    4^x4. 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement. 

94 


ENGRAVED  PORTRAITS 

339  Same  Plate.    Proof  on  India  paper  before  all  let- 
ters. 


Stipple. 


340  ZOUST  PINXIT.— T.  WOOLNOTH  SCULPSIT. 

Copy  of  oval  in  No.  337.    Shakespear. 

Pub.  by  M.  J.  Godwin,  1809. 

341  ZousT  PINXIT. — Edwin  sc.  Stipple. 

American  copy  of  preceding. 

Fielding:  175.     StauflFer:  869.    3}ix2}4. 

342  Anonymous.  Line. 

Copy  of  bust  of  No.  337,  with  profile  of  Gar- 
rick;  circle. 

B:  135.    i^xi>4. 

Vignette  on  title-page  of  Beauties  of  Shake- 
speare. London,  Kearsley,  sixth  edition.  (See 
book.) 


THE  ASHBOURNE,  OR  KINGSTON, 
PORTRAIT 

This  picture  first  came  to  light  when  the  Rev. 
Clement  U.  Kingston  purchased  it  from  a  Lon- 
don dealer,  and  has  become  well  known  from 
G.  F.  Storm's  engraving,  1847.  It  is  inscribed 
"Aetatis  Suae.  47.  A°  161 1"  and  is  regarded  by 
Mr.  Spielmann  as  a  portrait  of  importance. 

95 


WILLIAM  SHAKESPEARE 

343  Engraved  by  G.  F.  Storm,  from  an  Original 

Picture  in  the  Possession  of  C.  U.  King- 
ston, Esq.  of  Ashbourne,  Derby. 

Mezzotint. 

Three-quarters  length,  standing,  to  right,  with 
right  hand  resting  on  skull;  Elizabethan  ruff, 
sword-belt,  thumb-ring,  and  glove;  rectangle, 
with  facsimile  of  autograph. 

Pub.  by  G.  F.  Storm,  1847. 

344  Anonymous.  Stipple. 

Similar  print,  to  waist  only;  rectangle  with  fac- 
simile of  autograph. 

MINIATURES 

Several  miniatures  have  been  said  to  represent 
Shakespeare,  but  all  on  doubtful  grounds.  The 
most  famous  are: 

THE  WELBECK,  or  HARLEIAN  MIN- 
IATURE, which  Walpole  caused  to  be  en- 
graved by  Vertue  for  Pope's  edition ;  incorrectly 
said  by  Oldys  to  represent  James  I  (See  Nos. 

345-354)- 

THE  HILLIARD,  or  SOMERVILLE 
MINIATURE,  said  to  have  belonged  to  Shake- 
speare's friend,  Somerville  of  Edstone,  and  now 
the  property  of  Lord  and  Lady  Northcote;  the 
work  of  Nicholas  Hilliard  (See  Nos.  355-358). 

THE  AURIOL  MINIATURE,  so  called 
from  a  former  owner;  now  owned  in  America 
(See  Nos.  359,  360). 

96 


ENGRAVED  PORTRAITS 

345  G.  Vbrtue  Sculp.  1721.  Stipple. 

Bust,  to  right;  ruff  and  earring;  oval  on  pedes- 
tal in  rectangle,  with  William  Shakespeare  on 
ribbon  at  top.  Ad  Originalem  Tabulam  penes 
Edwardum  Dominum  Harley. 

B:  161.    8^x6. 

Front,  to  Pope's  edition  of  Works,  1725.  Ver- 
tue's  engraving  of  the  Welbeck  Miniature. 

346  Anonymous.  Line. 

Copy  of  preceding,  without  decorations.  W. 
Shakspeare,  Ob.  an.  1616  .  .  . 

5^x5. 

Pub.  by  J.  Stockdale,  1783;  pi.  to  Works,  1784. 

347  Same  Plate.    Without  publication  line. 

348  Engraved  by  W.  &  I.  Walker.  Line. 

Another  copy  of  No.  345,  with  masks  and  flames 
under  oval.    Shakspeare. 

B:  163.    6x3^.    , 

Pub.  by  Bellamy  &  Robarts,  1789. 

349  Same  Plate.    Proof  before  all  letters. 

350  F.  C.  Bock  Sc.  Line. 

Copy  of  preceding;  oval.    Shakspeare. 

3j4x2^. 

Front,  to  Englische  Blatter,  1794. 

351  S.  Bennett  Sc.  Line. 

Bust,  to  right;  rectangle. 
97 


WILLIAM  SHAKESPEARE 

B:  162.    5^x4. 

Pub.  by  I.  Stockdale,  1807;  pi.  to  Works. 

352  Massol  scuLpT.  Stipple. 

Bust,  to  right;  ruff  and  ribbon  with  order  of 
St.  George;  rectangle.    W.  Shakspeare. 

B:  165.    S'AxsH- 

PL  to  Guizot's  French  edition  of  Shakespeare, 

1848;  based  on  Vertue's  plate.  No.  345. 

353  Same  Plate.    Impression  on  India  paper. 

354  Same  Plate.     Proof  on  India  paper  before  Shake- 

speare's name. 

355  B.  HoLL  ScuLpT.  Stipple. 

Bust,  to  left;  fair  hair,  pointed  beard,  wide  col- 
lar; oval.  Shakespeare.  The  original  picture 
formerly  belonged  to  the  late  Sir  Edward  Bland 
B urges  Bar*. 

2X  lYi. 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement.   The  Milliard  Miniature. 

356  Same  Plate,    Proof  on  India  paper  before  all  let- 

ters. 

357  Engraved  by  T.  W.  Harland  from  the  por- 

trait BY  N.  Milliard.  Stipple. 

Bust,  to  left ;  oval  in  rectangle  with  facsimile  of 
autograph. 

B:  150.    zH^zyk. 

PI.  to  Wivell's  Inquiry,  Ed.  2,  1 840. 

358  Same  Plate.    With  London,  Virtue  ^  Co. 

98 


ENGRAVED  PORTRAITS 

359  Engraved  by  W.  Holl  from  the  miniature  in 

THE  POSSESSION  OF  ChARLES  AuRIOL  EsQ«. 

Stipple. 

Bust,  to  right,  in  oval  frame.    Shakspeare. 

B:  151.    2yix  i^. 

Pub.   by  A.  Wivell,    1827;   pi.   to  his  Inquiry j 
Supplement.    The  Auriol  Miniature. 

360  Same  Plate.    Proof  on  India  paper  before  all  let- 

ters. 


VARIOUS  SUPPOSITITIOUS 
PORTRAITS  AND  BUSTS 

361  Basire.  S.  Line. 

Bust,  profile,  to  left;  oval. 

Size  of  plate,  5j^  x  3%. 

On  engraved  title-page  of  Poems,  Bell,  1774. 

362  Anonymous.  '  Line. 

Similar  bust. 

i^x  I- 

On  p.  221  of  Lavater's  Essays  on  Physiognomy, 

1789. 

363  Anonymous.  Line. 

Similar  bust,  with  four  other  portraits. 

i-MxiM- 

PI.  to  Lavater's  Essays  on  Physiognomy,  1806. 
99 


william  shakespeare 

364  Drawn  by  R.  Corbould,  from  a  Gem  by  E. 

BuRCH,  R.A.  &  Engr".  by  P.  W.  Tomkins. 

Stipple. 

Bust,  to  left,  profile,  oval  medallion  with  gar- 
lands and  name  on  tablet  in  rectangle.  Shak- 
speare. 

B:  160.    3^x2. 

Pub.  by  John  Sharpe,  1804. 

365  G.  Upiz  del,— Coupi  Sc.  Stipple. 

Similar  bust,  in  wreath,  profile;  emblems;  rect- 
angle.   Shakespeare. 

4/4x3- 

366  Anonymous.  Stipple. 

American  copy  of  preceding.     Shakespere. 

On  title  of  Works,  Philadelphia. 

367  Thurston,  del. — Rhodes,  sculp.  Line. 

Similar  bust,  circular  frame  with  emblems  in 
rectangle.     Shakespeare. 

B:  159-    3^X2^. 

Pub.  by  Thomas  Tegg,  18 16. 

368  Same  Plate.    Proof  on  India  paper. 

369  J.  Miller  Sculp.  Stipple. 

Similar  bust,  oval.     fF*^.  Shakespeare. 

B:  157.    4^X354- 

100 


ENGRAVED  PORTRAITS 

370  Anonymous.  Line. 

Bust,  in  oval,  with  wrinkled  collar  and  pro- 
truding chin. 

2X  l^. 

Proof. 

371  Anonymous.  Line. 

Small  bust,  to  left;  on  book-plate  of  David 
Garrick. 

Size  of  bust,  ^  x  ^. 

372  Hogarth  pinx^. — J.  I.  Sc.  Aquatint. 

Small  bust;  medallion  set  in  chair.  Shakespear 
Chair. 

63^x3. 

Pub.  for  S.  Ireland,  1799. 

The  tradition  is  that  the  medallion  was  carved 
by  Hogarth  and  inset  in  a  chair  given  by  him  to 
David  Garrick. 

373  Engraved  by  W.  Ridley  from  a  drawing  by  W. 

H.  Brown  .  .  .  Stipple. 

Bust,  to  right;  slightly  resembling  the  Chandos 
Portrait,  but  without  beard  and  earring.  Shake- 
speare.   Engraved  for  C.  Cooke,  April  19,  1797. 

3y8X2y2. 

374  A.  WivELL  Delt.— W.  Holl  Sculp^.        Stipple. 

Half-length,  to  left;  oval.  Will.  Shakespere. 
The  original  Picture  is  in  the  possession  of 
Thomas  Gilliland,  Esqr. 

B:  142.    3^x3. 

lOl 


WILLIAM  SHAKESPEARE 

Pub.  by  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement. 

375  Painted  by  R.  Smirke,  R.A. — Engraved  by  R. 

Ash  BY.  Line. 

Bust,  full  face,  in  architectural  frame  with  Il- 
lustrations to  Shakspeare,  by  Rob*.  Smirke,  Rji, 

Pub.  by  Hurst,  Robinson  &  Co.,  1825. 

376  Same  Plate.    Impression  on  India  paper. 

377  Same  Plate.    Proof  on  India  paper  before  letters. 

378  Same  Plate.    Unfinished  proof. 

379  E.  Desmaisons  lith. — Imp.  Lemercier  .  .  . 

Lithograph. 

Half-length,  to  left,  looking  toward  front;  wavy 
hair  and  loose  collar;  vignette.    Shakespeare. 

Pub.  by  Moore  McQueen  &  Co. 

FRAUDULENT  PORTRAITS 

Early  in  the  nineteenth  century  two  "restorers," 
Zincke  and  Holder,  fabricated  numerous  spuri- 
ous portraits  of  Shakespeare  and  others.  Several 
of  them  were  accepted  as  genuine,  and  have  be- 
come well  known  through  excellent  engravings. 
Some  of  the  most  noted  of  the  frauds  which  may 
be  traced  to  one  or  the  other  of  these  impostors 
are: 

102 


ENGRAVED  PORTRAITS 

THE  STAGE  PORTRAIT,  named  after 
the  publisher  who  first  had  it  reproduced  by 
Robert  Cooper  (See  Nos.  380-383). 

THE  DUNFORD  PORTRAIT,  named 
for  the  publisher  of  Turner's  mezzotint   (See 

Nos.  384-387). 

THE  WINSTANLEY  PORTRAIT,  one 
of  two  owned  by  Mr.  Thomas  Winstanley  (See 
Nos.  388-390). 

THE  ZINCKE  PORTRAIT,  immediately 
traceable  to  Zinclce  (See  No.  391). 

380  Engraved  by  Rob^  Cooper.  Stipple. 

Half-length,  to  right;  in  plain  coat  with  small 
buttons  and  slightly  turned  collar;  figure  almost 
in  profile;  rectangle.  Shakspeare  From  an 
original  Portrait  in  the  possession  of  the  Pub- 
lisher. 

B:  136.     11^  xg. 

Pub.  by  Machell  Stace,  181 1.  The  Stace  impos- 
ture. 

381  Same   Plate.     Without   Shakespeare's   name   and 

with  RobK  Cooper^  Aquafortis  lightly  etched. 

382  Engraved   by  W.   Roll  from  a  print  by  R. 

Cooper.  Stipple. 

Copy  of  preceding.    Shakspeare  .  .  . 
B:  137.    4y&X3%' 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement. 

103 


WILLIAM  SHAKESPEARE 

383  RosMASTER  Berlin  1838.  Line. 

Copy  of  preceding. 
4x3^- 

384  Engraved  by  C.  Turner,  from  the  newly  dis- 

covered Picture  .  .  .  Mezzotint. 

Bust,  to  left,  with  broad  plain  collar,  wrinkled ; 
heavy  hair  falling  over  collar;  rectangle.  tV^. 
Shakspeare. 

B:  138.    15  X  12. 

Pub.  by  Jas.  Dunford,  1815.  The  Dunford  im- 
posture. 

385  Same  Plate.    Proof  before  all  letters. 

386  Engraved  by  W**.  Sharp  .  .  .  Line. 

Copy  of  preceding;  in  rectangular  frame.  W^. 
Shakspeare. 

B:  140.    6}i>^5/i- 

Pub.  by  J.  Dunford,  i8i6. 

387  [W.  Holl]  Stipple. 

Similar  print ;  rectangle,  without  the  frame. 

B:  139.    4^X3^- 

Pub.  by  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement. 

Proof  on  India  paper  before  all  letters. 

388  Anonymous.  Line. 

Bust,  to  left;  in  plain  collar  with  tassels,  out- 
line floriated  rectangle.    Above:  Engraved  from 

104 


ENGRAVED  PORTRAITS 

a  Portrait,  in  the  possession  of  Mr.  Tho'.  Win- 
stanley,  Liverpool.     (6  lines  of  verse  below.) 

5x4. 

389  Engraved  by  Edward  Smith  from  an  Original 

Painting.  Line. 

Same  type,  half-length,  to  left;  rectangle.  Shai- 
speare. 

B:  156.    43^x3^. 

Pub.  by  Robt.  Jennings,  1829;  for  The  Union 
Shakespeare. 

390  Same  Plate.    Proof  on  India  paper,  with  engrav- 

er's name  lightly  etched. 

391  W.  HoLL  scuLpT.  Stipple. 

Bust,  full  face;  oval,  with  fancy  figures  and  in- 
scriptions in  antique  characters.  "The  earth 
has  bubbles  .  .    '' 

B:  144.    6^x4^4. 

Pub.  by  A.  Wivell,  1827;  pi.  to  his  Inquiry, 
Supplement. 

The  so-called  Zincke  portrait. 


THE  WESTMINSTER  MONUMENT 

In  1 741  a  monument,  designed  by  William  Kent 
and  executed  by  Peter  Scheemakers,  was  set  up 
in  the  Poets'  Corner  in  Westminster  Abbey. 
The  expenses  were  met  by  public  subscription, 
Alexander  Pope  being  one  of  the  promoters  of 
the  scheme.  The  standing  figure  of  the  poet  is 
105 


WILLIAM  SHAKESPEARE 

represented  as  leaning  against  a  pillar,  on  which 
are  books  and  a  scroll;  the  head  is  after  the 
Chandos  Portrait. 

392  H.  Gravelot  delin.  et  Sculp.  Line. 

The  monument,  with  statue,  in  Westminster 
Abbey;  rectangle.  Below:  To  be  placed  next 
after  the  Preface. 

8K  X  63^. 

PI.  to  Hanmer's  edition  of  Works,  1744. 

393  Anonymous.  Line. 

Same  monument;  rectangle. 

B:  185.    7^x454. 

PI.  to  London  Magazine,  1751. 

394  Anonymous.  Line. 

Same  monument,  with  railing;  rectangle.  Be- 
low: Monument  of  Shakespeare. 

5/2x314. 

PI.  to  Royal  Magazine,  1 763. 

395  S.  Wale  delin.— C.  Grignion  so.  Line. 

Copy  of  preceding.     Monument  of  Shakespear. 

396  Anonymous.  Line. 

Reduced  copy  of  No.  394.  Monument  of  Shake- 
speare. 

5^X3^. 

106 


ENGRAVED  PORTRAITS 

397  Anonymous.  Line. 

Same  monument;  rectangle.  Shaksperes  Monu- 
ment in  fVestminster  Abbey. 

B:  i86.    sY&xzYi. 

Printed  for  J.  Bell,  1787;  pi.  to  Works. 

398  Anonymous.  Line. 

Same  monument;  rectangle.  Above:  Monu- 
ment of  Shakespear. 

6^X3^. 

PL  to  Universal  Magazine. 

399  HuLETT  Sculp  Line. 

Same  monument;  rectangle. 

5^x31^. 

400  Anonymous.  Line, 

Same  monument;  rectangle. 

43^x2^. 
Cut  close. 

401  Anonymous.  Line. 

Same  monument;  rectangle.  The  Monument 
of  William  Shakespear  the  Poet,  erected  to  his 
Memory  in  Westminster  Abbey  A.D.  1741. 

II  X7. 

402  Anonymous.  Line. 

Same  monument;  rectangle.  On  base  of  statue; 
Shakespeare. 

6MX4M. 

Pub.  by  John  Williams,  1826. 
107 


WILLIAM  SHAKESPEARE 

403  Engraved  by  B.  Holl.  Line. 

Same  monument;  rectangle.  The  Monument 
of  Shakspeare  in  Westminster  Abbey. 

8x4^. 

Pub.  by  Wivell,  1827;  pi.  to  his  Inquiry,  Sup- 
plement. 

404  Same  Plate.    Proof  before  all  letters. 

B:  182. 

405  Drawn  &  Eng".  by  J.  Storer. — for  Cole's  Resi- 

dences OF  Actors.  Line. 

Same  monument,  showing  only  part  of  pedestal; 
rectangle.  Shakespeare's  Monument,  West- 
minster Abbey. 

406  Anonymous.  Line. 

The  statue  of  the  monument;  vignette,  on  Sed- 
don's  advertisement  of  Books  &  Stationery, 
Philadelphia,  about  1812. 

3^2x23^. 

407  Anonymous.  Line. 

Same  statue;  vignette.  William  Shakespeare. 
Verlag  von  Friedrich  Brandstetter  in  Leipzig. 

5J^X4. 

THE  BANKS  RELIEF 

A  relief,  representing  Shakespeare  between  the 

Genius  of  Painting  and  the  Dramatic  Muse, 

108 


ENGRAVED  PORTRAITS 

was  executed  by  J.  Banks  for  Boydell's  Shake- 
speare Gallery  in  Pall  Mall.  It  is  now  in  the 
garden  of  New  Place,  Stratford.  It  was  repro- 
duced on  a  medal  by  Kiichler,  which  was  pre- 
sented to  every  subscriber  to  Boydell's  illus- 
trated edition  of  Shakespeare. 

408  T.    Banks    R.A.    Inv.    et    Sculp.— Drawn   & 

Etch'd  by  G.  Vitalba  Etching. 

Relief  in  front  of  Shakespeare  Gallery  with  me- 
dallion of  John  Boydell  introduced;  rectangle. 
Bass  Relief  in  the  Front  of  the  Shakespear  Gal- 
lery Pall  Mall.  Humbly  Dedicated  to  the  Sub- 
scribers of  the  Shakespear  Gallery  .  .  . 

B:  178.    9x7^- 
Pub.  by  Vitalba,  1792. 

409  I.    Banks    R.A.    fecit.— Benj.    Smith    Sculp. 

Stipple. 

Same  relief;  rectangle.  On  pedestal:  "He  was 
a  Man,  take  him  for  all  in  all,  I  shall  not  look 
upon  his  like  agmn"  .  .  .  Below:  Represents 
Shakespeare  seated  between  the  Dramatic  Muse 
and  the  Genius  of  Painting  .  .  . 

B:  176.    I9>^  X  14J4. 

Pub.  by  J.  &  J.  Boydell,  1796;  pi.  to  Works. 

410  I.    Banks   R.A.    fecit.— James    Stow    Sculps. 

Line. 

Same  relief;  rectangle.  Represents  Shakspeare 
seated  ... 

B:  177.    ioyix6y2. 

Pub.  by  J.  &  J.  Boydell,  1798;  front,  to  Works. 
109 


WILLIAM  SHAKESPEARE 

411  Same  Plate.  With  inscription  below  lightly  etched. 

412  Same  Plate.     Proof  before  all  letters. 

413  J.  Banks  R.A.  fecit — B.  Holl  sculp^.        Line. 

Same  relief;  rectangle. 

B:  172.    6}ix4}i. 

Pub.  by  A.  Wivell;  pi.  to  his  Inquiry,  Supple- 
ment.    (See  book.) 

414  Same  Plate.     Proof  on  India  paper  before  all  let- 

ters. 

415  I.  Banks  R.A.  fecit. — Gestochen  in  Lorrach 

BEY  Basel  von  T.  T.  von  Meckel  jun. 

Line. 

Same  relief;  rectangle.  Represents  Shakspeare 
seated  between  the  Dramatick  Muse  and  the 
Genius  of  Painting  .  .  . 

416  Anonymous.  Etching. 

Same  relief;  rectangle,  in  outline. 

4^^X354- 

Proof  before  all  letters. 

417  Banks     R.A.      Fecit — Fauchery     del.— A'*^. 

Mathieu  sc.  Line. 

Same  relief;  rectangle. 

5x3^- 

Pub.  by  Marchant,  Paris. 

418  ScRiVEN  scuLpT  Line. 

Same  relief;  obverse  of  medal  presented  to  sub- 
IIO 


ENGRAVED  PORTRAITS 

scribers  to  Boydell's  edition  of  Shakespeare's 
Works.  Below  is  the  reverse  of  the  medal,  en- 
graved by  Girtin. 

1^X2. 

Pub.  by  J.  Asperne,  1804;  pi.  to  European  Mag- 
azine. 

419  Engraved  by  S.  Rawle.  Line, 

Same  relief,  in  view  of  full  front  of  Shakespeare 
Gallery. 

B:  174.    7x3^- 

Pub.  by  J.  Asperne,  1804;  pi.  to  European  Mag- 


VARIOUS  STATUES 

420  Anonymous.  Stipple. 

The  Roubiliac  Statue,  inclined  toward  left  with 
pen  in  right  hand  and  left  hand  raised  to  face; 
long  draped  cloak;  vignette.  Below:  Shak- 
speare. 

The  French  sculptor  was  commissioned  by  David 
Garrick  in  1758  to  execute  this  statue,  which  Gar- 
rick  bequeathed  to  the  British  Museum. 

421  Riley  del. — Page  Sculp  Line. 

Statue  on  pedestal,  with  figures  of  Tragedy  and 
Comedy  below;  encircling  ribbon  inscribed  fVe 
ne'er  shall  look  upon  his  like  again;  vignette. 

63^x4%. 

Pub.  by  Bellamy  &  Roberts,  1791. 
Ill 


WILLIAM  SHAKESPEARE 

422  J.  Bell,  Sculptor. — Daguerreotyped  by  Beard. 

Stipple, 

Statue  on  pedestal ;  left  hand  resting  on  trunk  of 
tree;  head  from  Stratford  bust;  rectangle.  Be- 
low: Shakspere. 

423  Anonymous.  Stipple. 

Similar  statue;  vignette.  "His  fame  folds  in 
This  orb  0'  the  earth."    Shakespeare. 

Pub.  by  D.  Appleton  &  Co.,  New  York. 

424  Same  Plate.     Proof  before  publisher's  inscription. 

425  Same  Plate.    Proof  before  all  letters. 

426  Engraved  by  A.  B.  Walter  from  the  Original 

Drawing  by  W.  Croome.  Mezzotint. 

Statue  on  pedestal  with  lyre,  masks,  etc.,  below ; 
book  in  left  hand;  vignette. 

5^X3>4. 

427  Anonymous.  Stipple. 

The  Central  Park  statue;  face  from  the  Strat- 
ford bust,  looking  down,  with  book  in  right  hand 
and  left  hand  on  hip;  vignette.  Shakspeare. 
From  the  Statue  by  J.  Q.  A.  Ward.  Copyright 
by  D.  Appleton  &  Co.  1877. 

8^X4>^. 

428  Same  Plate.    With  inscription:  Shakspere.    From 

the  bronze  statue  by  J.  Q.  A.  Ward,  in  Central 
Park,  New  York. 

112 


ENGRAVED  PORTRAITS 

429  Programme  of  a  performance  of  Julius  Casar 
given  at  Booth's  Theatre  in  1875;  printed  on 
green   silk,   with   representation  of   the  Ward 

statue. 

5X2^. 


430  Bust  of  William  Shakespeare;  carved  in  wood. 

431  Alleged  Portrait  of  William  Shakespeare;  painted 

in  oils,  with  inscription,  Jfe  46 — 1610.    In  cor- 
ner,. Lynde. 


432  Engraved    Portraits    of    the    Early    Editors    of 

Shakespeare's  Plays. 

433  Engraved     Portraits     of     Early     Shakespearian 

Actors. 


"3 


WILLIAM  SHAKESPEARE 


ADDENDA 


434  [William  Sabin]  Etching. 

"The  Whistling  Shakespeare."  Droeshout  type, 
on  small  sketch  of  title-page  of  the  First  Folio. 

1^4  X  i^. 

435  [Francis  Kyte.]  Mezzotint. 

Bust,  to  left,  in  oval  on  plate  with  oval  portraits 
of  Jonson,  Milton  and  Butler.  Natus  A.  D. 
1554  Wil"^.  Shakespear  .  .  . 

C.  S:  13.     13MX  10. 

One  of  a  set  of  six  plates.  The  Worthies  of 
Britain;  in  imitation  of  Simon's  set  (See  No. 
138). 

436  W.  Page  del.    W.  J.  Linton  sc. 

Wood-engraving. 
The  "Kesselstadt  Death  Mask." 

37^X253^. 

On  poster  of  lecture  by  William  Page,  Novem- 
ber 14,  1871. 


114 


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